Podcast appearances and mentions of Karin Tidbeck

Seconda puntata del ciclo tematico dedicato alla lingua e al linguaggio nelle narrazioni fantastiche e fantascientifiche questo volta dedicato ad "Amatka" dell'autrice svedese Karin Tidbeck. Pubblicato in Italia da Safarà Editore nel 2018 il libro segue le avventure di Vanja mandata nella colonia di Amatka, un luogo dove se non si pronuncia con una certa regolarità il nome degli oggetti questi si disintegrano e scompaiono.Discord: https://discord.gg/zPH6EeEgfXCanale Telegram: https://t.me/blablafantasPagina Instagram: https://www.instagram.com/bla.blafantasy/

Charlotte is haunted by the lack of violence in Swedish dystopias (Kallocain by Karin Boye and Amatka by Karin Tidbeck) while Jo delves into the controlled and uncontrolled horror of medical history in Human Medical Experimentation, ed. Francis R. Frankenberg. Pissed Jeans' thoughtful frontman Matt Korvette joins to share his trenchant take on menace and neighborly predation in Joan Samson's The Auctioneer. Matt Korvette is a writer, critic, lyricist and performer, best known as the vocalist of Pissed Jeans. He resides in Philadelphia, PA.Send questions, requests, recommendations, and your own thoughts about any of the books discussed today to readingwriterspod at gmail dot com. Charlotte's most recent book is An Honest Woman: A Memoir of Love and Sex Work. Learn more at charoshane.comJo co-edits The Stopgap and their writing lives at jolivingstone.com. Hosted on Acast. See acast.com/privacy for more information.

Luke and Juliane review Amatka by Karin Tidbeck, then discuss the five star concepts and themes trapped within this two star novel. Luke on Mastodon: @lukeburrage@masto.nu Juliane on Mastodon: @JuKuBerlin@mastodon.social Support Luke and Juliane financially via Patreon.com/lukeburrage Discuss this book at Goodreads.com Luke writes his own novels, like “Minding Tomorrow”, “Combat”, “Get that rat off […]

Brea and Mallory discuss the state of reading today, plus give advice on talking about spicy reads and recommend translated books. Email us at readingglassespodcast at gmail dot com!Reading Glasses MerchRecommendations StoreSponsors -Miracle Madewww.trymiracle.com/GLASSESCODE: GLASSESEarth Breezewww.earthbreeze.com/GLASSES Links -Reading Glasses Facebook GroupReading Glasses Goodreads GroupAmazon Wish ListNewsletterLibro.fmTo join our Slack channel, email us proof of your Reading-Glasses-supporting Maximum Fun membership!www.maximumfun.org/joinBook Club:March 1, 5pm PTStarling House by Alix E. HarrowSigned Copy of Girly Drinks in Paperback!Books Mentioned - Mary by Nat CassidyThe Book of Love by Kelly LinkMouthful of Birds by Samanta Schweblin, translated by Megan McDowellAmatka by Karin Tidbeck

Vi samtalar med KARIN TIDBECK om att skriva på ett annat språk än sitt modersmål. Och  att skriva för att i första hand bli översatt. Och om det där snacket att engelska skulle vara bättre än svenska när man skriver, särskilt fantastik. Och vad säger kulturredaktionerna på de stora tidningarna egentligen när det säger att de numera också ska recensera fantastik? Men framför allt så pratar vi om Karins novell GRUVMAJA som vi är så glada över att får presentera som novembers novell från Kraxa förlag! (På omslaget finns det kurbitsar, om du vill se hur de kan se ut

(00:08) Introduction to Karin Tidbeck(01:20) Karin's Journey into Storytelling(02:42) Karin's Fascination with Speculative Fiction(05:37) Influences and Inspirations(07:36) Exploring the Jagannath Collection(07:58) Character Development and Role-Playing Games(09:17) Karin's Experience in the Gaming Industry(16:22) Challenges of Self-Translation(19:19) The Creative Process Behind Jagannath(33:06) The Story Behind the Title 'Jagannath'(39:51) Insights into Contemporary Swedish Fiction(46:02) Reading from JagannathIntroduction:Karin Tidbeck lives in Sweden, where they work as a translator and creative writing teacher and write fiction in Swedish and English. They are the author of the novels Amatka, Memory Theatre and the short story collection Jagannath.Their work has received the Campbell Award and the SF & Fantasy Translation Award, as well as several nominations, including for the World Fantasy Award.In this conversation, Karin spoke about writing in Swedish and English, Speculative fiction, self-translation and the book 'Jagannath'.Synopsis :Conversation with Speculative Fiction Author Karin TidbeckIn this podcast, Swedish author Karin Tidbeck talks about their work as a translator, creative writing teacher, and novelist. They discuss their short story collection 'Jagannath', which led to their winning the Campbell Award and the SF and Fantasy Translation Award. Tidbeck explains their affinity for speculative fiction, refers to self-translation and shares their process of generating story ideas, often starting with a character or feeling. They elaborate on their difficulties while translating their work from Swedish to English. Tidbeck reveals her career in the gaming industry and its influence on her writing and translating work. The conversation also details Tidbeck's experience with the Swedish and US publishing industry and how their writing process has evolved.To buy the book - https://amzn.to/3FFyWAr* For your Valuable feedback on this Episode - Please click the below linkhttps://bit.ly/epfedbckHarshaneeyam on Spotify App –http://bit.ly/harshaneeyam Harshaneeyam on Apple App –http://apple.co/3qmhis5 *Contact us - harshaneeyam@gmail.com ***Disclaimer: The views and opinions expressed by Interviewees in interviews conducted by Harshaneeyam Podcast are those of the Interviewees and do not necessarily reflect the official policy or position of Harshaneeyam Podcast. Any content provided by Interviewees is of their opinion and is not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrpChartable - https://chartable.com/privacy

Annika matar in den svarta floppyn i diskettstationen. Hon är en cracker med principer, hon ska spela igenom det titellösa spelet innan hon knäcker och kopierar det vidare Lyssna på alla avsnitt i Sveriges Radio Play. Berättare: Lennart JähkelRollerna görs av Therese Lindberg, Maja Runeberg, Josef Törner, Martin Sundbom, Erik Kaa Hedberg och Magnus Berg.Musik: Krister LinderDramaturg: Magnus LindmanLjud: Glate Öhman, Calle Andersson, Bjarne Johansson, Lena Samuelsson. Producent: Pernilla Kommes & Magnus BergRegi: Lars VegaTillgänglig fram till och med 5 oktober 2024.

I det sjuttiotredje avsnittet av Tolkienpodden fortsätter vi vår diskussion om Midgårda magi. Vi pratar bland annat om illusioner och sinnespåverkan, magisk sång samt trollformler och magiska ord. Vi som diskuterar (med helt vanliga ord) är som vanligt Adam Westlund De La Torre, Elisabet Bergander och Daniel Möller (som även står för musik och klippning). Månadens tips: Från Star Wars till Harry Potter (konsert på SVT Play), boken Minnesteatern av Karin Tidbeck samt brädspelet Twilight Struggle.

Hipp hipp hurra! Det är den 13 april och Kraxa förlag släpper Karin Tidbecks novell ”Sjung ingen psalm när jag är död”! Därför kan vi inte tänka oss något bättre än att prata med författaren själv – Karin Tidbeck – om hur det var att skriva novellen, om Ada Lovelace och att arbeta som AI. ”Sjung ingen psalm när jag är död” kan du köpa från bokhandlare på nätet, fraktfritt i Kraxa förlags egen butik och/eller beställa från din lokala bokhandel.

Thema der Woche: Neues aus dem Fairyland! Ein Buch, von dem mans nicht vermuten würde, es möge im Feenland spielen: Der Dunkle Turm von Stephen Kind! Und doch ist es so, um warum das so ist, das wird in diesem Podcast erklärt. Auch im Feenland spielen die kurzgeschichten von Karin Tidbeck, die sie in „The […]

Oggi ci dedicheremo a qualche libro fuori dalle righe, stravagante e in grado di intrattenere il lettore attraverso storie incredibili, molto fantasiose e talvolta anche stranianti: - "Jagannath" di Karin Tidbeck: è una raccolta di racconti dove prendono vita personaggi e ambientazioni poste in stretta correlazione col mondo mitologico e folkloristico svedese. - "Lingua nera" di Rita Bullwinkel: è una raccolta di racconti strani che mostrano lati talvolta oscuri e talvolta più levigati di tutti gli aspetti del nostro io, dai bisogni fisici ai nostri appetiti. - "Mantide" di Julia Armfield: in questa raccolta vengono mescolati in maniera folle e compulsiva i generi più disparati, dalla distopia alla fantascienza pura, dal racconto gotico ai miti classici. Se apprezzi il podcast, lasciami una recensione o qualche stellina! Puoi acquistare i libri che ho consigliato direttamente da questa lista, che contiene gli 80 libri più belli che ho letto negli ultimi anni: https://www.amazon.it/shop/zonalettura Puoi anche supportare questo podcast con un caffè virtuale su Ko-fi: https://ko-fi.com/zonalettura Scrivimi per commenti, idee e proposte: Instagram: https://www.instagram.com/zonalettura/ E-mail: woozingstar@gmail.com Foto di Gabriele Taormina Musica: Acoustic Blues e Saloon Rag, di Jason Shaw, da https://audionautix.com Rendezvous, di Shane Ivers, da https://www.silvermansound.com

The holiday season is upon us, another strange, unforgettable year is almost done, and here at Coode Street it's time for our annual gift guide/year in review, where we recommend some books we loved during the year. This time out we invited special guests and good friends James Bradley, Alix E. Harrow, and Ian Mond to join us to recommend just a few of the books we'd loved the most during 2021. Perhaps more than in any other year, this was a time when we all were almost surprised at how much great reading we found. Because this is Coode Street, traditions are traditions and we had some technical issues. All is good for most of the hour of the recording, but there's a jump or two towards the end. We hope you'll excuse this, and that the recommendations will prove of interest. As always, our thanks to Alix, James, and Ian for making time to talk to us. We hope you enjoy the podcast and that the guide is of some use. To help, the recommendations are below. And we're in talks to maybe return in January for a books we're looking forward to chat as well... James Bradley recommended: Jennifer Mills, The Airways Elizabeth Knox, The Absolute Book Nina Allan, The Good Neighbours Olga Ravn, The Employees: A workplace novel of the 22nd century and also mentioned: Alexandra Kleeman, Something New Under the Sun Laura Jean McKay, The Animals in That Country Marion Engel, Bear Garth Nix, Terciel and Elinor Sim Kern, Depart, Depart Hari Kunzru, Red Pill Alix E. Harrow recommended: Lee Mandelo, Summer Sons Shelley Parker-Chan, She Who Became the Sun Ava Reid, The Wolf and the Woodsman Nghi Vo, The Chosen and the Beautiful And I also loved/mentioned/endorsed: Becky Chambers, A Psalm for the Wild-Built Angela Slatter, All the Murmuring Bones Ian Mond recommended: Build Your House Around My Body, Violet Kupersmith The Thing Between Us, Gus Moreno The Confessions of Copeland Cane, Keenan Norris All the Murmuring Bones, Angela Slatter Dead Souls, Sam Rivière The Angels of L19, Jonathan Walker Mrs Death: Misses Death, Salena Godden The Employees, Olga Ravn (translated by Martin Aitken) Jonathan recommended: The Hood, Lavie Tidhar A Desolation Called Peace, Arkady Martine A Psalm for the Wild-Built, Becky Chambers The Wisdom of Crowds, Joe Abercrombie and passingly mentioned The Detective Up Late by Adrian McKinty. Gary recommended: Karin Tidbeck, The Memory Theatre M. Rickert, The Shipbuilder of Belfairie E. Lily Yu, On Fragile Waves Nina Allan, The Art of Space Travel and Other Stories P. Djèlí Clark, A Master of Djinn Pus a couple of titles that were also on other folks' lists, like The Hood and The Chosen and the Beautiful.

Storysyndromet kliver direkt in i den skeva verkligheten och lyssnar på kortnovellen "Jag tänker på Laila" av Stina Sturesson Svansjö. Och undrar sen vad begreppet Uncanny Valley egentligen handlar om? Vi frågar oss själva och Karin Tidbeck hur man kan använda det i sitt skrivande, innan vi vrider på det lite till och funderar på om inte det skeva med Hannibal Lecter är hans mänskliga sida snarare än monstret i honom?

STORYSYNDROMET besöker en övergiven kyrkogård med namnlösa gravar. Henrik berättar om hur ett par övergivna skor i Japan kan vara en tragedi och därför också en berättelse. Och vi pratar med den internationellt utgivna författaren Karin Tidbeck om hur det mest vardagliga i en kultur kan vara en alternativ värld för en annan.

In this fourth episode, I review and recommend The Memory Theater by Karin Tidbeck and the 2019 reboot of Fruits Basket. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Vi har haft turen att få ett samtal med Karin Tidbeck som är aktuell med sin nya bok The Memory Theater, och då passar vi på att prata lite mer kring ämnet science fiction och på hur stort allvar man kan och bör ta Science Fiction. Karin Tidbeck – The Memory Theatre https://www.sfbok.se/tips-topplistor/tips/ovrigt/dagens-text/the-memory-theatre

Annika matar in den svarta floppyn i diskettstationen. Hon är en cracker med principer, hon ska spela igenom det titellösa spelet innan hon knäcker och kopierar det vidare Berättare: Lennart Jähkel Rollerna görs av Therese Lindberg, Maja Runeberg, Josef Törner, Martin Sundbom, Erik Kaa Hedberg och Magnus Berg. Musik: Krister Linder Dramaturg: Magnus Lindman Ljud: Glate Öhman, Calle Andersson, Bjarne Johansson, Lena Samuelsson. Producent: Pernilla Kommes & Magnus Berg Regi: Lars Vega

Ten minutes with... is a special series presented by Coode Street that sees readers and booklovers from around the world talk about what they're reading right now and what's getting them through these difficult times. Today Gary is joined by Crawford Award-winning and World Fantasy Award- nominated Swedish author Karin Tidbeck, discussing her remarkable 2010 Clarion class (three Crawford winners!), the audio narrating skills of Robin Miles, listening to Sandman as an audio drama, the work of Garth Nix and Tove Janssen, a fascinating new novel still awaiting English publication, and her forthcoming The Memory Theatre. Books mentioned include: Amatka by Karin Tidbeck Jagganath by Karin Tidbeck The Memory Theater by Karin Tidbeck The Sandman (audio) by Neil Gaiman and Dirk Maggs The City We Became by N.K. Jemisin (narrated by Robin Miles) Harrow the Ninth by Tamsin Muir The Old Kingdom Series by Garth Nix The Moomin books and others by Tove Jansson Monsters In Therapy by Jenny Jägerfeld & Mats Strandberg

Karin Tidbeck történetei világszerte meghódították a szépirodalmi sci-fi, a spekulatív fikció és az alternatív fantasy olvasóit. Molnár Bertával, az Agave Kiadó szakemberével próbáljuk megmutatni, hogy miért. És itt egy rövid idézet illusztrációként: "Miután kikerültél a vödörből, gyorsan növekedtél. Augusztusra megérett a törpemálna, és aranyszínű foltokban elborította a mocsarat. Addigra már jártál, és a bőröd vastagabb és sötétebb lett a napsütéstől. Annak ellenére, hogy semmit sem tudtál megfogni karod csonkszerű volta miatt, nagyon ügyesnek bizonyultál, mert a száddal szedted le a málnát, azután beleejtetted a kosárba. Emlékszem, hogy egyszer a konyhaasztalnál ültél, mindent elborított az aranyszínű lekvár, és hangosan cuppogtál..."

Annika matar in den svarta floppyn i diskettstationen. Hon är en cracker med principer, hon ska spela igenom det titellösa spelet innan hon knäcker och kopierar det vidare Berättare: Lennart Jähkel Rollerna görs av Therese Lindberg, Maja Runeberg, Josef Törner, Martin Sundbom, Erik Kaa Hedberg och Magnus Berg. Musik: Krister Linder Dramaturg: Magnus Lindman Ljud: Glate Öhman, Calle Andersson, Bjarne Johansson, Lena Samuelsson. Producent: Pernilla Kommes & Magnus Berg Regi: Lars Vega

Our guest this month is Biblibio for some women in translation recommendations for #WITMonth and don't forget to vote in the #100BestWIT project.  Podcast Transcript Mentioned in this episode; Awu’s Story by Justine Mintsa (translated by Cheryl Toman) Mars by Asja Bakic (translated by Jennifer Zoble) The Extraordinary Lives of Insects by Anne Sverdrup-Thygeson (translated by Lucy Moffatt) Svetlana Alexievich Notes of a Crocodile by Qiu Miaojin (translated by Bonnie Huie) A Rain of Words:A Bilingual Anthology of Women's Poetry in Francophone Africa edited by Irene Assiba D'Almeida (translated by Janis A. Mayes) Albert Camus La Bastarda by Trifonia Melibea Obono (translated by Lawrence Schimel) Disoriental by Negar Djavadi (translated by Tina Kover) Albertine Prize Lammy Award for Best Bisexual Novel Flights by Olga Tokarczuk (translated by Jennifer Croft) Sphinx by Anne Garreta (translated by Emma Ramadan) Amatka by Karin Tidbeck (translated by the author) My Lesbian Experience with Loneliness by Kabi Nagata (translated by Jocelyne Allen)  The Second Sex by Simone de Beauvoir (translated by Constance Borde and Sheila Malovany-Chevallier) The Faculty by Dream by Sara Stridsberg (translated by Deborah Bragan-Turner) The S.C.U.M. Manifesto by Valerie Solanas   Read_WIT online Twitter: Read_WIT Instagram: ReadWIT   Find Meytal online Blog: Biblibio Twitter: Biblibio   Support the show via Patreon Social Media links Email: losttranslationspod@gmail.com Twitter: @translationspod Instagram: translationspod Litsy: @translationspod Facebook: https://www.facebook.com/translationspod/ Produced by Mccauliflower.

(sabato, 6/10/2018). Stranimondi 2018: 6-7/10/2018 a Milano. Leggi di più su Fantascientificast.com - Pubblicazione amatoriale. Non si intende infrangere alcun copyright, i cui diritti appartengono ai rispettivi detentori - Autorizzazione SIAE 5612/I/5359.

Jesse Draxler was born in rural Wisconsin, studied in Minneapolis, MN, and currently lives and works in Los Angeles, CA. A formal mixed media & inter-disciplinary artist, Draxler has exhibited extensively both domestically and internationally and in 2018 released his first book, Misophonia, through Sacred Bones Records. His client list includes MCQ Alexander McQueen, The New York Times, Hugo Boss, Dita Eyewear, and The Atlantic. Draxler is also one of an upcoming three person exhibition opening at No Gallery in Los Angeles September 7th. Topics Discussed In This Episode: Draxler's experiences moving to LA and living off-grid in Wisconsin Definitions of success and personal growth The effects of religious upbringings Hardcore and metal bands offering rebellion against religion and aesthetic freedoms How boxing, basketball, and running have offered growth in Draxler's creative process The effects of expectations on the creative process Draxler's reflection on the anniversary of his book “Misophonia” Draxler's representation and upcoming show under Casey Gleghorn's No Gallery Navigating the gallery experience Exploring many mediums and Draxler's transition into taking his own collage material and using color in his art Books and authors mentioned: Pema Chodron, Inner Game of Tennis by Timothy Gallwey, short story collection Jagannath by Karin Tidbeck, Under the Skin by Michel Faber, Man's Search for Meaning by Viktor Frankl, Dark Matter by Blake Crouch, Freedom from Anger by Alubomulle Sumanasara, Peace is Every Step by Thich Nhat Hanh, The Four Agreements by Don Miguel Ruiz Graphic novels mentioned: Upgrade Soul by Ezra Clayton Daniels, Ice Cream Man by W. Maxwell Prince, and Black Hole by Charles Burns www.artistdecoded.com

Är det universum vi känner bara en av oändligt många, parallella världar? Vad betyder det i så fall för oss, i vårt universum? 1957 presenterade den amerikanske fysikern Hugh Everett III (1930-1982) kvantmekanikens flervärldstolkning: idén om ett oändligt antal parallella universum. Idén fick ett svalt mottagande och Everetts karriär gick i stå. Vetenskapligt har teorins problem varit att den varken kan bevisas eller vederläggas, men i den världsberömde fysikern Stephen Hawkings allra sista, vetenskapliga artikel argumenterar han för att parallella universum visst går att mäta - genom ett slags läckage mellan världarna. Om vi på så vis skulle kunna leda fleravärldar-teorin i bevis, hur skulle det förändra vår syn på världen, "multiversum" och oss själva? Och omvänt: finns det några risker med att låta fantasin spela med fysikaliska modeller som saknar belägg? I musikalen "Hugh och Nancys många världar" blåser Lars Rudolfsson och Dramatens ensemble liv i Hugh Everetts vetenskapliga hypotes och applicerar den på hans eget liv. I ett samtal inspelat på Dramaten diskuterar Filosofiska rummet parallella universum tillsammans med författaren Karin Tidbeck, fysikern Ulf Danielsson och filosofen Lars-Göran Johansson. Programledare: Tithi Hahn Producent: Mårten Arndtzén

Tyler and Orrin are at the Outer Dark Symposium of the Greater Weird Mike is touring Columbia Enjoy one of our favorite topics from Season 1 as we revisit The Weird.  ____________________________________________________ Hey Class!  On this episode of Horror Podclass we talk about the upcoming movie Annihilation and one of our favorite genres, The New Weird.  We discuss weird fiction, what it is, what it isn't, how it works, and where you can find more of it! Here are some useful links to some things we discuss in the show: Annihilation News and Trailer Worry Fans of the Book at our website, SignalHorizon.com.  You can see the trailer for the upcoming movie and read a little bit about the problems adapting the book into a film. You can also read for yourself what H.P. Lovecraft wrote about the genre, why it works, and how to write it. Don't forget to head on over to Audible.com and start your free trial!  We recommend that you get a copy of Area X by Jeff VanderMeer, which contains the entire trilogy that starts with Annihilation.  Tyler recommends Karin Tidbeck as another great weird fiction author you can check out. If you are looking for some weird fiction podcasts, check out Pseudopod, an excellent short horror fiction podcast with excellent stories and equally excellent narration.  We recommend you start your weird fiction journey with episodes 574: While the Black Stars Burn by Lucy Snyder, episode 568: The Room in the Other House by Kristi Demeester, and Episode 578: Alarm will Sound by Christopher Shultz. .

In Karin Tidbeck‘s Amatka (Vintage, 2017), words weave—and have the potential to shred—the fabric of reality. Amatka was shortlisted for the Compton Crook and Locus Awards. A reviewer on NPR called it “a warped and chilling portrait of post-truth reality” while a Chicago Tribune reviewer called it “disturbing and provocative.” The book’s title takes its name from a colony settled at an unspecified point in the past by pioneers. Life there is hard; not only is it always maddeningly cold, but a paucity of resources requires the colonists to recycle everything, including dead bodies, and they depend on mushrooms for all their nourishment. But the most unusual feature of life in Amatka is that all objects must be labeled. According to the rules set forth by a secretive ruling committee, a pencil must be labeled “pencil.” A toothbrush must be labeled “toothbrush.” If a label wears off, or if something is mislabeled, the consequences are disastrous: the object degenerates into a primordial substance known as gloop. Tidbeck says the novel began as a thought experiment. Essentially, she wondered, “What if we lived in a world where reality is controlled by language?” The idea was inspired, in part, by the Sapir–Whorf hypothesis, which holds that the structure of a language affects the speakers’ worldview. Thus, in Amatka, “Language has enormous power. You have to be extremely careful about what you say, what you do… because upsetting the order of things can literally mean the end of the world.” To avoid the risk of things transforming into gloop, the colony Amatka (and therefore the book Amatka) doesn’t use homonyms, synonyms or metaphors—a principle adhered to not only in the original Swedish but in the English translation. Amatka itself actually started as a poetry collection, but when Tidbeck couldn’t find a publisher, she turned the book into a narrative, a process that took six years. But Tidbeck hasn’t abandoned poetry entirely. As the plot unfolds, the main character, Vanja, is inspired by a book of poetry to rebel. Thus words serve as both the backbone of this cold authoritarian society and also offer—through poetry—a route to freedom. Rob Wolf is the host of New Books in Science Fiction and the author of The Alternate Universe. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Karin Tidbeck‘s Amatka (Vintage, 2017), words weave—and have the potential to shred—the fabric of reality. Amatka was shortlisted for the Compton Crook and Locus Awards. A reviewer on NPR called it “a warped and chilling portrait of post-truth reality” while a Chicago Tribune reviewer called it “disturbing and provocative.” The book’s title takes its name from a colony settled at an unspecified point in the past by pioneers. Life there is hard; not only is it always maddeningly cold, but a paucity of resources requires the colonists to recycle everything, including dead bodies, and they depend on mushrooms for all their nourishment. But the most unusual feature of life in Amatka is that all objects must be labeled. According to the rules set forth by a secretive ruling committee, a pencil must be labeled “pencil.” A toothbrush must be labeled “toothbrush.” If a label wears off, or if something is mislabeled, the consequences are disastrous: the object degenerates into a primordial substance known as gloop. Tidbeck says the novel began as a thought experiment. Essentially, she wondered, “What if we lived in a world where reality is controlled by language?” The idea was inspired, in part, by the Sapir–Whorf hypothesis, which holds that the structure of a language affects the speakers’ worldview. Thus, in Amatka, “Language has enormous power. You have to be extremely careful about what you say, what you do… because upsetting the order of things can literally mean the end of the world.” To avoid the risk of things transforming into gloop, the colony Amatka (and therefore the book Amatka) doesn’t use homonyms, synonyms or metaphors—a principle adhered to not only in the original Swedish but in the English translation. Amatka itself actually started as a poetry collection, but when Tidbeck couldn’t find a publisher, she turned the book into a narrative, a process that took six years. But Tidbeck hasn’t abandoned poetry entirely. As the plot unfolds, the main character, Vanja, is inspired by a book of poetry to rebel. Thus words serve as both the backbone of this cold authoritarian society and also offer—through poetry—a route to freedom. Rob Wolf is the host of New Books in Science Fiction and the author of The Alternate Universe. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Karin Tidbeck‘s Amatka (Vintage, 2017), words weave—and have the potential to shred—the fabric of reality. Amatka was shortlisted for the Compton Crook and Locus Awards. A reviewer on NPR called it “a warped and chilling portrait of post-truth reality” while a Chicago Tribune reviewer called it “disturbing and provocative.” The book’s title takes its name from a colony settled at an unspecified point in the past by pioneers. Life there is hard; not only is it always maddeningly cold, but a paucity of resources requires the colonists to recycle everything, including dead bodies, and they depend on mushrooms for all their nourishment. But the most unusual feature of life in Amatka is that all objects must be labeled. According to the rules set forth by a secretive ruling committee, a pencil must be labeled “pencil.” A toothbrush must be labeled “toothbrush.” If a label wears off, or if something is mislabeled, the consequences are disastrous: the object degenerates into a primordial substance known as gloop. Tidbeck says the novel began as a thought experiment. Essentially, she wondered, “What if we lived in a world where reality is controlled by language?” The idea was inspired, in part, by the Sapir–Whorf hypothesis, which holds that the structure of a language affects the speakers’ worldview. Thus, in Amatka, “Language has enormous power. You have to be extremely careful about what you say, what you do… because upsetting the order of things can literally mean the end of the world.” To avoid the risk of things transforming into gloop, the colony Amatka (and therefore the book Amatka) doesn’t use homonyms, synonyms or metaphors—a principle adhered to not only in the original Swedish but in the English translation. Amatka itself actually started as a poetry collection, but when Tidbeck couldn’t find a publisher, she turned the book into a narrative, a process that took six years. But Tidbeck hasn’t abandoned poetry entirely. As the plot unfolds, the main character, Vanja, is inspired by a book of poetry to rebel. Thus words serve as both the backbone of this cold authoritarian society and also offer—through poetry—a route to freedom. Rob Wolf is the host of New Books in Science Fiction and the author of The Alternate Universe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episodio 335. Incontro con la scrittrice svedese Karin Tidbeck, autrice fantasy e weird fiction (panel del 6.10.2018). Per l'immagine di copertina: © Aventi diritto. All rights reserved.Support this podcast at — https://redcircle.com/fantascienticast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Karin Tidbeck talks about Mage: Refuge, a text-based interactive game with a rich scenario full ... --- Send in a voice message: https://anchor.fm/mage-the-podcast/message Support this podcast: https://anchor.fm/mage-the-podcast/support

  Episode 55 is part of the Autumn 2017/Winter 2018 issue! "The Huntsman's Sequence" is a GlitterShip original. Support GlitterShip by picking up your copy here: http://www.glittership.com/buy/     The Huntsman's Sequence by Octavia Cade   01011011101111.... m-configuration: Knife The war is blank. Not in its individual parts, but as a whole. It covers everything, smothers everything. It blows continents open with opportunity. Much of that opportunity is for death, for carcasses hung up and split open in massive consumption, a grind of bone and blood, but for some the opportunity is a tool for all that. Something to insert into the space between ribs, to lever open and dissect. Not everyone dies in war. Not everyone sinks into blank nothingness, into unmarked graves and mass burials, into fields turned red and mud that stinks of iron. Some fight with symbols instead of flesh, their weapons heady and hidden, and it is in combination and in permutation that Turing finds his battleground.   [Full transcript after the cut.]   Hello! Welcome to GlitterShip episode 55 for May 5, 2018. This is your host Keffy and I'm super excited to be sharing this story with you today. Before we get started, I want to let you know that GlitterShip is now part of the Audible afflilate program. What this means is that just by listening to GlitterShip, you are eligible to get a free audio book and 30 day trial at Audible to check out the service. If you're looking for a great book with queer characters, I recommend checking out Amatka by Karin Tidbeck. Amatka is set on a colony world in which objects can only maintain their shape if they are properly named. While visiting a colony not her own, Vanja discovers truths that alter the way she thinks about the world forever. To download a free audiobook today, go to http://www.audibletrial.com/GlitterShip and choose an excellent book to listen to, whether that's Amatka or something else entirely.   On to the episode, we have one original story and a poem for you today. The poem is "Telegram From Tomorrow's Lovelorn" by Shannon Lippert. Shannon Lippert is a reluctant New Yorker, a former professional Internet surfer, and a performing artist. She writes plays, essays, poems, short fiction, long fiction, bad fiction, and fanfiction.     Telegram From Tomorrow's Lovelorn By Shannon Lippert   oh how good it is to be alive in a time without miscommunication, we have so many tools for reconciliation, we are inclined to be happy with our upward trajectory—the next tool to be improved upon is love we have experimented with procedures and policies that calculate for irregulars and deviations in nature, and designed a program suitable for all kinds, in the future we will not worry about a thing the remarkable innovation of the essential human experience is made possible by contributions made by companies you’ve never heard of with wealth you’ve never dreamed of, for the creation of lovers to be no more the messy business of hiring a writer for your profile or interviewing for the position of life-partner you will be intuited, distilled, contained STOP in the future love will be sleeker an organic machine of orgasmic proportions conducted by an algorithm calibrated to destiny the beta version has been intriguing, and produced an object an artifact of more visceral traditions, tomorrow there will be no more incompatibility, no more irreconcilable differences, for all will be reconciled categorized, tagged, compartmentalized, converted to data this is virtually reality, with a few minor upgrades the bugs reported and removed, like the hair between one’s brows, or the men with low testosterone, the women who are too driven unnecessary inclinations will be resolved in the future, with equations installed in a binary system of zeroes and ones the problem is not one of variables, but imbalance, which drove the initiative towards simpler paradigms of passion STOP reducing the complexity has caused initial disturbances but overall the product has been well-received by focus groups, carefully selected, who long for a time when lonely is no longer something one has to be it is a wonder the species was able to replicate at all, with the mire of mundane relations and deeply confusing infatuations, and now our relief is in the last stage of development, to learn the art of loving STOP we will have models that are easy to duplicate, simple to impose on any group or subgroup, our assets determined not by unquantifiable inherent value, but by the concrete fact of what we need to be to other people, to those that assess us like the auditors of old, only for fate we can now be evaluated for attractive features more easily, leaving more time to construct our true love   Our original short story for this episode is "The Huntsman's Sequence" by Octavia Cade. Octavia Cade is a New Zealand writer with a PhD in science communication, who particularly enjoys writing stories about science history. She’s currently working on a collection of short fantasy stories set at Bletchley Park during WW2; “The Huntsman’s Sequence” is one of these. Her work has appeared in Strange Horizons, Clarkesworld, and Shimmer, amongst others. She attended Clarion West 2016. Our guest reader is Jacob Budenz. Jacob Budenz is a writer and multi-disciplinary performer whose work has been published by Assaracus, Hinchas de Poesia, Polychrome Ink, The Avenue, and more. Currently, Jacob resides in New Orleans in pursuit of an MFA in Creative Writing. Content warning for mention of suicide and dysphoria.   The Huntsman's Sequence by Octavia Cade   01011011101111....   m-configuration: Knife The war is blank. Not in its individual parts, but as a whole. It covers everything, smothers everything. It blows continents open with opportunity. Much of that opportunity is for death, for carcasses hung up and split open in massive consumption, a grind of bone and blood, but for some the opportunity is a tool for all that. Something to insert into the space between ribs, to lever open and dissect. Not everyone dies in war. Not everyone sinks into blank nothingness, into unmarked graves and mass burials, into fields turned red and mud that stinks of iron. Some fight with symbols instead of flesh, their weapons heady and hidden, and it is in combination and in permutation that Turing finds his battleground. He’s under no illusion that it keeps his hands clean. The information he extracts from the body of Enigma, the sweet little Snow White of his waking dreams, is used for murder as much as if he did the stabbing himself. He can live with that, because he has the skills and it is a necessary thing, what he has become. The war, when he holds it, is sharp and bright and clean-surfaced and he knows his role, knows what it makes him. For Turing the war is a knife that cuts him off from the old life; that sutures him into the new. He uses it to make little holes in his skin; to lace up the flesh again in new configurations, for the open theater of conflict comes with orders and betrayal. Academia was exploration, but what he does at Bletchley comes with focus, with tracking down and opening up. He cuts through code as if it was wild boar, slices out the heart of it, the liver and lungs, and offers the organs up to others. He is the Hunstman. new m-configuration: Huntsman   m-configuration: Huntsman The huntsman is 1. Turing is solid in himself, upright. Not simply in a physical way, though he is proud of his body. A runner’s body, swift and sure and when he runs of a morning, he is certain of his steps for he counts each one, catalogues the variation and speed and distance. There is little fat on him. He is smooth and straight and lean. This is the shape he admires in others. A man’s shape, like his own, and he is not ashamed of where his desires lead him. A huntsman is built for the chase. He has stamina, and strength. He has the determination to follow through mud and thorn thickets and shell holes, through bureaucracy and ill weather. He has patience, too, for there are times a huntsman has to stay downwind, to wait and wonder and make his best guess as to where the prey is hiding. The huntsman is an analyst. He is able to follow the bare pattern of footprints, covered over as they are by leaves and leavings to pick out the true trail amidst the false. There are many false trails. They’re left to confuse him, to put him off the scent. It’s hard to pick out one pattern among many when the letters are sneaking by, in such numbers that the ones he wants are camouflaged by the rest. It takes an analyst to butcher, too. The huntsman’s job isn’t over with the hunt: he must string up and dissect, pull out the organs for inspection and passing over. He must have the scent of blood. new m-configuration: Huntsman   m-configuration: Huntsman The huntsman is 0. The queen is the loveliest figure the huntsman has ever seen. He feels that he is nothing in her presence. Will you give me your allegiance? she says. She is built of abaci and cogwheels and calculation. She is built of logic and syllogism, axiom and tautology. Turing can see numbers in her hair and her dress is embroidered over with computation. He does not worship her as if she were a woman, for women he finds difficult. They are expectations he cannot fulfil. He worships the queen as if she were an ideal: mathematics come to life, and that life does not expect him to lie with her. He’d rather lie with men anyway. The queen knows and does not care. You are what you are, she says. Why deny it? She is all objectivity and questions. Am I not beautiful? she says, head cocked to one side with cool assessment. Could you make me more beautiful? It’s not as if truth needs decoration to shine. Still, Turing thinks he sees a path forward, and that path lies in mechanism, in the potential for engines and computing. He is the huntsman, and he knows the value of haste, of not letting a trail go cold. The queen chews equations slowly, with slide rules and logarithmic tables. He thinks he could make her work faster, more accurately. You are already the most beautiful, he says. But it’s not like you couldn’t stand a few improvements. His social skills have never been a strong point, but the queen is not insulted by accuracy. I will give you my allegiance, he says, as if she’d never had it already as he worked through his arithmetic exercises as a lad, as he studied logic and looked in mirrors and recognized himself for what he was. The queen is satisfied. new m-configuration: Queen   m-configuration: Queen The queen is 0. The queen is 1. She sees in black and white. A binary code, and even her mirror lacks color for color comes in degrees and all that the queen can see is certainty. The mirror shows her troop movements and casualty lists. They are in black and white for dead is “not alive” and alive is “not dead” and these are the switches she has. Injuries are the same. Her soldiers are “fixable” or “not”, where “fixable” means “able to be returned to the front”. There is an increasing proportion of “not”. The fronts too are binary things, for all they change on their many border. This town is ours, that ridge is theirs. She has no room to wish them shaded with pink or lavender or violet. Dreams are a distraction, and wishing for victory will not make it so. Better the queen looks the whole horrid situation in the face, clearly assesses her chances. Mirror mirror, she says, and it’s no surprise to hear that Enigma is prettier than she is. Younger, smoother, more efficient in her workings. No surprise there, they’re related enough for beauty to cross over, based as they both are in numbers and logic. It’s a family thing. Nothing the queen does can crack that lovely surface, and with every failure, with every not-success the casualty lists become larger, the fronts closer. She sees projections and possibilities, feels the mirror start to tremble with strain for it’s hard to show truth without color and that’s what the queen is: truth. How can she be truthful without certainty? The truth is that the war will be won or it will be lost. It is not a pleasant truth but the queen is unconcerned with pleasantry. She’s always preferred surety to manners. What are you certain of? she says to her reflection, and it’s less a question than a means of building up. A foundation for future plans. You are certain that you are pretty, she says. You are certain that Snow White is prettier. There’s a viable argument in there, one that rests on removal. new m-configuration: Queen   m-configuration: Queen The queen is blank. In another world, another story, the queen would look into a mirror and her frustrations would come out in anger, in wrinkled hatred and the end of blooming, and these things together would wash out her reason and leave her mind a mirror of continents: breaking up into little pieces in preparation for war. In this world, the world where war is no longer a thing of plans and dark dreams and potentiality, rage is self-indulgent. Victory requires reason, the cool and easy flow of numbers, and there is no room for anything but rationality and the stepped resolutions of engineers and mathematicians. (Control may be the only thing the two queens ever shared; the mirror that binds them together.) In this world, the queen must speak truth and that truth is objective and binding. “If we do not break Enigma, we will fail,” she says. Turing watches her speak her truth every morning in the mirror. It is a truth he knows in his bones and his water, in his cheekbones, in his fingertips. A queen should be that way. Regal, with nothing of the lie about her. “If we do not break Enigma, we will fail,” she says. (“If you do not kill Snow White, I will fall,” she says.) Enigma is the focus of his days. Turing pictures her sometimes, the way she’s snuck up on him with her perfect complexity, with the smooth supple shape of her code. Never has he seen such a perfect encryption. He’d like to pin her under glass, to keep her still and silent and spread out for observation, but she’s too much of a living thing to lie quietly. new m-configuration: Snow White   m-configuration: Snow White Snow White is x. She marks the spot. Enigma is information. She is dates and coordinates. She is rotors and contact points and letter routes, and she cannot be decrypted until her position is known. She is shiny keys and crossed wires and combinations that can be remade over and over. She is sleek and slinking and beautiful and she shines bright enough to hide the truth. Where is Snow White? says the queen, when the organs on her plate are shown to have come from other encryptions. Snow White is the threat, the unbreakable one. Enigma is in the castle, in the woods, in the cottage, in the coffin. Her positions are different each time the queen looks for her. Snow White romps over the countryside, cleaning up for the men who employ her, washing out submarines and rinsing out battalions, hanging them up to dry. She is sweeping airfields off the map. She is very hard to catch. Messages spill over the queen’s plate, and all of them are inedible. Tainted by combination, watered down with alphabet and permutation. The queen can’t chew fast enough to eat her way through to the marrow of them, and the truth of the messages is hidden from her. But the queen has a huntsman, and she is chewing faster and faster. new m-configuration: Queen   m-configuration: Snow White Snow White is ǝ. She is a placeholder, essentially. The point in the story tape that indicates beginnings. It’s beginnings that illustrate again for Turing the difference between knowledge and truth. Some confuse them, but he never has. Snow White is a story of beginnings: of conception and transmission, of birth and ciphers and familial betrayal, the crossing of borders and what it’s like to run and hide against an enemy too strong to fight. She’s a need for science, is Snow White, for poison antidotes and the exact number of kisses necessary to break the spell and open up glass and lungs, to start the heart beating again in the resistance. That too is a beginning, for waking comes with new rules and allied forces, with ambush and undermining and troop movements, the silencing of submarines as well as confetti and the roasted meats of feasting time. She’s pure numbers, is Snow White. They make up her spirit and her bones and the typewriter casing of her flesh, but as Turing tries to tease meaning from her blood he is certain in his own warm marrow that there are only two endings to her beginning. In one, Enigma sleeps in her coffin and never wakes, and there is blood and blackened hulls in the water, an island overcome. In the other, the Huntsman learns enough from the red evisceration of her organs to be able to satisfy the queen. Turing knows the ending will be one of these. He knows also that there is only one he is prepared to tolerate. He’ll see to it that Enigma has a happy ending. Because happy endings might not be truth but they’re a type of knowing too, and one he’s pinned his hopes on. new m-configuration: Apple   m-configuration: Snow White Snow White is blank. In this she reminds him of war and knives, though it’s a knife that brought Enigma to life, it’s an apple that ends her. There is such a range of possibilities in her, spread out and spread open. Thousands of permutations, millions of them, and they are all packed so close together that the mass becomes a single body, smooth and inviolate. The trouble is that Turing was brought in to violate, the huntsman tracking down, snatching skin and code from the airwaves and carving it up for queen and country. He can’t regret his post. Enigma is clean and lovely and he admires the way she moves, the kinetic precision of her, the way she skips and teases. He is confounded by her. Fascinated, and if a huntsman has dogs to bring to bay he too has beasts that growl and bite, and these are made of metal. Bletchley is full of machines, their colossal presence a bulwark and barking behind him, ready to gobble. Turing feeds Snow White to them in thin pieces, in tiny paper strips and she’s opened up before him, her blankness taking brief form and breaking up again. He doesn’t begrudge the girl her figure. Not even that it’s always changing. The variation keeps him interested; it’s more than any other woman’s ever been able to manage. But Snow White isn’t any other woman. She’s perfect, siren-voiced and something to come back to again and again. Though Turing knows he has to open her up, has to pin her down to pin meaning to that fascinating blankness, there’s part of him that’s glad for knives. It’s such an opportunity they’ve given him, to put Enigma in her coffin. new m-configuration: Snow White   m-configuration: Apple The apple is 0. The apple is 1. The apple is x. The apple is ǝ. The apple is any number of bloody things. If there’s one thing his work at Bletchley has given Turing, it is knowledge. More than that, it’s the knowledge that what he knows is frequently useless. It’s a discouraging realization. This is a list of what he knows: Turing knows that he has cracked Enigma. He sees her in his dreams sometimes, code come to life in a perfect construct of flesh and glass, black and red and white and delicate as snowflakes. And it’s such a satisfaction, he doesn’t deny it, and a relief to know that for all this hideous war has cut his country to ribbons he has helped to settle it, to blunt the sharp edges and turn them away from others, from himself. He knows constriction. Not just the pressure of routine and isolation and the need for silence, but that which comes from silence extended. For when the war is over and his work has been buried under official acts and promises, he knows limitation and what it is to bite his tongue until the bites never heal. And he knows, above all else, what it is to be lonely. Bletchley is full of people and there’s always the sense of them massing at his borders but he finds it difficult to reach over. This is especially so when these people begin to spill out of manor grounds, to go home and on and he is left with all the connections he never could make, quite. The connections he most wants, those that come with firm warm flesh and hardness moving over him... well. There is black bile within him, red teeth, the white of lips bitten down, and Turing comes to understand that, after all, knowledge can be poison as well as panacea. He knows what it is to be betrayed. He knows what apples taste like. new m-configuration: Apple   m-configuration: Apple The apple is blank. The apple is bright and sweet and carries the promise of nothing; of gaps and absence and the thought of these is a restful one. (Lately rest seems very appealing.) Turing knows what permutation is—knows it in his flesh, softer now than it used to be with his runner’s body ruined by estrogen, the chemical castration that has given him breasts. Snow White has breasts, no matter how much old Walt tried to cover them up. Turing would like to think a prince would come for him, wake him from this drugged state and break him out of the glass coffin of expected behavior but he is—has always been—the queen’s man and he knows he is not Snow White. Snow White was sealed away behind glass and put on display. She has always been Enigma for him: something to be manipulated and spread out, to be opened up for silent viewing. The apple did for both of them. Knowledge is half the time a poisoned fruit, and for all it can break a code into pieces it can break other things as well. His permutation is not nearly so subtle; it doesn’t have the camouflage of mathematics and he’s never been good at lies. Never seen the value in them. Poison seems to be the only possible solution. Simple enough to track down and Turing has made a career of tracking, of long-distance pursuit. He dips the apple in cyanide, a parody of the Evil Queen because truth is confused so often with knowledge and when he looks in mirrors they stand behind him, these so-close permutations and he’s the only one to tell difference between them. The apple is bright and sweet. He is the Huntsman. He is the Huntsman. new m-configuration: Huntsman   END "The Huntsman's Sequence" is a GlitterShip original and is copyright Octavia Cade, 2018. "Telegram From Tomorrow's Lovelorn" is a GlitterShip original and is copyright Shannon Lippert 2018. This recording is a Creative Commons Attribution-NonCommercial-NoDerivatives license which means you can share it with anyone you’d like, but please don’t change or sell it. Our theme is “Aurora Borealis” by Bird Creek, available through the Google Audio Library. You can support GlitterShip by checking out our Patreon at patreon.com/keffy, subscribing to our feed, or by leaving reviews on iTunes. Thanks for listening, and we’ll be back soon with a reprint of Njàbò by Claude Lalumière.

[…] Hyper contente de s’être bien marrée à latter de l’homosexuel gauchiste avec ses amis chasseurs à la Fac de Montpellier, la Salle 101 soutient la reprise en main de l’éducation nationale en chroniquant plusieurs oeuvres d’importance : Amatka, roman chelousuper de Karin Tidbeck. Celle qui n’avait pas peur de Cthulhu, roman lovcraftopunk de Karim [...]

[…] Hyper contente de s'être bien marrée à latter de l'homosexuel gauchiste avec ses amis chasseurs à la Fac de Montpellier, la Salle 101 soutient la reprise en main de l'éducation nationale en chroniquant plusieurs oeuvres d'importance : Amatka, roman chelousuper de Karin Tidbeck. Celle qui n'avait pas peur de Cthulhu, roman lovcraftopunk de Karim […]

Reader's Room covers the month's speculative fiction, science and technology. In this edition we talk about autonomous vehicles, and how they're still a nuisance on the road if they can't communicate with the humans around them. We also talk about what causes car crashes in professional races, using AI to keep people and sharks safe from each other, and Karin Tidbeck’s powerful short story collection, Jagannath. Show links: Las Vegas's autonomous shuttle. The giant, fire breathing mantis at Container Park. Linkdump: Studying car crashes in Formula One Racing suggests that competitiveness is more likely to cause crashes than skill or weather. The 2018 Hugo Award nominations are out. Good source of ideas for more for reading, watching, and listening. Australian beaches are looking to protect swimmers from sharks usingAI linked to buoys and drones to sense sharks in the water. Suggestions, comments, or subscribe to the newsletter at ReadSteven.com  

Editors’ Intro: Lynne M. Thomas and Michael Damian Thomas Short Fiction: "The Bone Plain" by Karin Tidbeck, as read by Stephanie Malia Morris Poetry: "An Announcement" by Sara Cleto and Brittany Warman, as read by Erika Ensign Interview: Karin Tidbeck interviewed by Shana DuBois Want to join the Space Unicorn Ranger Corps? You can find new science fiction and fantasy stories, poetry, and nonfiction every month in Uncanny Magazine. Go to uncannymagazine.com or subscribe to the eBook version at weightlessbooks.com or amazon.com. This podcast was produced by Erika Ensign and Steven Schapansky. Music created by Null Device and used with permission. Copyright © 2017 by Uncanny Magazine

Sink your teeth into samosa with Karin Tidbeck as we discuss the serious nature of Live Action Role-Playing games in Nordic countries, the way pretending to be a 150-year-old vampire changed her life, how discovering Neil Gaiman's Sandman comics made her forget time and space, the most important lesson she learned from the Clarion Science Fiction & Fantasy Writing Workshop, how she uses improvisational exercises to teach beginning writers, why Amatka grew from a poetry collection into a novel, what made her say, "I'm not here to answer questions, I'm here to ask them," and more.

Bienvenue pour ce neuvième épisode de Coliopod. La nouvelle de ce mois est le premier texte publié en français de l'autrice suédoise Karin Tidbeck :"Appel aux Armes pour la defense des droits des auteurs décédés", parue en 2015 dans les pages de la revue Uncanny Magazine (no. 7, novembre/décembre 2015). La nouvelle, traduite par Cécile Duquenne, lue par Ségolène Janne d'Othée, flirte, comme la plupart des textes de Tidbeck, avec le fantastique et le surnaturel; ses écrits font partie du genre "New Weird". Karin Tidbeck écrit en suédois et en anglais (elle s'occupe elle même de la traduction / adaptation de ses textes) et est roliste, GNiste et professeur de "creative writting". Durée de l’enregistrement : 28:59 Original English title: « A call to arms for deceased author’s rights » ©2015 Karin Tidbeck. Originally published in Uncanny Magazine, Issue 7 (november/december 2015), ©2017 Coliopod pour cet enregistrement. Merci aux mécènes sur Tipeee qui ont aidé à la sortie de cet épisode : Lune, Xapur, Cauchy, Clément, Alias

Editorial por Alexander Páez: "Esclavo de las novedades". Reseña de Retrofuturo, de VV.AA. (Guillem López de antólogo) Reseña de Amatka, de Karin Tidbeck --- Send in a voice message: https://anchor.fm/neo-nostromo/message

This month on The Writer and the Critic your hosts, Kirstyn McDermott and Ian Mond, plunge straight into discussing the two chosen books, Jagannath by Karin Tidbeck [2:50] and The Core of the Sun by Johanna Sinisalo [47:00]. If you've skipped ahead to avoid spoilers, please come back at 1:32:10 for some brief final remarks, including an impromptu lesson about gaslighting. The two books up for discussion on the next episode are: Rosewater by Tade Thompson Lagoon by Nnedi Okorafor Read ahead and join in the spoilerific fun!

Utopier, framtidsdrömmar och artificiell intelligens. Den andra delen i Kulturradion special om science fiction. Kan vi hitta svaren på samtidens knäckfrågor inom science fiction-genren?I det andra av två program om science fiction utforskar kulturredaktionens Roger Wilson med gäster människans behov av utopier drömmarna och tankarna kring ett idealsamhälle.Människans längtan efter den perfekta tillvaron är ett start stråk inom science fiction-genren. Men vad händer när vi fått allt vi önskat oss? Är en framtidsvision där robotar tar över allt mer av vårt arbete en dröm- eller skräckvision? Och är den ultimata utopin en värld utan män?Medverkande: Jerry Määttä, Jenny Bonnevier, Karin Tidbeck och Nille Svensson. Programledare: Roger Wilson. 

Författarna från Fantastisk Podd spelar in ett specialavsnitt inför publik och diskuterar nordisk mytologi i fantastiken. Detta avsnitt har tidigare publicerats på Fantastisk Podd. Deltagare: Nene Ormes, Karin Tidbeck, Erik Granström, Anders Björkelid, Oskar Källner, Kristina Hård, Susanna Nissinen. The music is from Sands Of Time (Psychadelik Pedestrian) / CC BY-NC 3

Denna panel spelades in på Swecon 2014 – Steampunkfestivalen i Gävle. Det finns knappt några tidskrifter längre, men istället har det kommit en del antologier de senaste åren. Hur är läget för den svenskspråkiga fantastiknovellen idag? Är det stycksålda e-noveller som är framtiden? Och vart tog fantasyn vägen? Medverkande: Johan Jönsson, Karin Tidbeck, Elin Holmerin, … Fortsätt läsa Sweconpoddar 19 – Den svenskspråkiga fantastiknovellen →

I det tjugotredje digitalsamtalet träffar Carl Heath den prisbelönta science fiction-författaren Karin Tidbeck. Den knappa halvtimmen handlar bland annat om relationen mellan litteraturen och den pågående utveckligen av teknik och vetenskap. Enligt Karin Tidbeck har många science fiction-författare, tack vare ett stort teknikintresse och en förmåga att fånga var vi befinner oss nu, förutsättningarna att […] The post #023 – Science fiction och digitaliseringen av samhället appeared first on Podcasten Digitalsamtal.

On the third day of the sightseeing trip, among walrus-laden icebergs, they run into slurry. At the fore, Skipper sticks a boat hook into the water. “There are plenty of critters here,” he says. “It's like playing grab bag. You'll always catch something on the hook.” He thrusts the boat hook up and down a couple of times, stirs it in the slush, and pulls it out again. A transparent little rag is impaled on the tip. | Copyright 2016 by Karin Tidbeck. Narrated by Judy Young.

ÅRET SOM VARIT — ÅRET SOM BLIR Malmö bjuder in till nyårsfest högst uppe på Turning Torso! Kristina Hård, Nene Ormes och Karin Tidbeck pratar året som varit och året som blir! Vad har varit bäst och vad har varit sämst under 2015? Vilka fantastikförhoppningar finns inför superåret 2016? Vad har vi lärt oss (har vi […]

… eller det extra positiva i att vara författare! Boken är skriven och utgiven. Du är författare och det i sig är stort, men vad mer hör författarlivet till?Malmös Kristina Hård, Karin Tidbeck och Nene Ormes pratar hur det är med signeringar, specialpennor, träffa fans och att bli fotograferad av proffs.

Over the weekend of June 25-28 Gary travelled to distant and beautiful Mariehamn in the land of the midnight sun where he was to appear as a guest of honor at Archipelacon: The Nordic SF & Fantasy Convention. In amongst time spent appearing on panels, making speeches and marveling that the sun was still up as midnight approached, Gary took time to sit down with fellow Archipelacon guest Karin Tidbeck and long-time friend of the podcast Cheryl Morgan to discuss Karin's writing, Finnish and Swedish SF, some recommended new translations, and much more. As always, our sincere thanks to Karin and Cheryl for taking the time to be part of Coode Street. We hope you enjoy the episode. Next week: Readercon goodness!

This week, with Gary returned from Archipelacon in Finland, we touch once again upon the problems of translation, the Finnish Weird, the international SF community, and such timely matters as the 50th anniversary of Frank Herbert's Dune, the announcement of World Fantasy Life Achievement winners Ramsey Campbell and Sheri S. Tepper, new critical books in the series from University of Illinois, and even some odd ideas about short books or essays we'd like to see on the model of the 33 1/3 series, as well as the usual random rambles. Next time we'll be back with a special episode recorded at Archipelacon featuring Karin Tidbeck and Cheryl Morgan.  As always, we hope you enjoy this week's show!

Jag läser inte sånt! Lider du eller någon i din närhet av fantastikofobi? – ett tillstånd som betecknas med en ovilja eller rädsla för att läsa fantasy eller science fiction. I så fall är det här avsnittet för dig! Nene Ormes, Karin Tidbeck och Kristina Hård reder ut begreppet och kommer, förhoppningsvis, med bot på eländet. Dessutom slänger […]

Tiden med Marika i P4 är över, för den här gången, därför har redaktionen klippt ut några av alla de pärlor vi kunnat höra i något av de omkring tjugo programmen Marika Carlsson gjort på fredagarna. Vad sägs om att i första timmen höra lite best of från säsongen?Vi bjuder på en galamix med bland andra folkvettsexperten Magdalena Ribbing, tantrocksentusiasterna Marie Selander och Anna Charlotta Gunnarson, besserwissrarna Jesper Rönndahl och Karin Tidbeck besserwissrar och kulturkorrespondenten Roger Wilson ger oss en fem i topp-lista över värsta syskonen i populärkulturen. Å i den andra timmen då?Ja då träffar vi återigen komikern Patrik Larssons karaktär Karsten Torebjer, psychic medium, Leif Mannerström berättar om kökssynder och Pernilla Wahlgren och Hanna Hedlund gör en svensk version av Icona Pops hit I love it.Programledare. Marika CarlssonBistittare: Hanna Hedlund och Hasse BronténProducent: Tommie JönssonPublikredaktör: Ronnie RitterlandMissa inte nästa veckas program när det blir premiär för Mede i P4!

Join Sean & Charles for a (slightly late) Valentine's Day Special! This week, they're talking about the short story "Rebecka" by Karin Tidbeck, as well as Takashi Miike's cult classic film "Audition". Music: Eyes Gone Wrong Kevin MacLeod (incompetech.com) Show Notes: Karin Tidbeck - Rebecka (via Nightmare Magazine)

Vi vet alla vad en besserwisser är och varför hen är så irriterande. Men i veckans Marika i P4 försöker Marika Carlsson förstå viktigpettern och lära sig älska honom eller henne.  Marika Carlsson och hennes bisittare Hanna Hedlund gästas i veckans program av komikern och programledaren Jesper Rönndahl, som nyligen kom ut som besserwisser och i programmet ger oss en bild av hur det är att leva som en ”mästrarnas mästrare”. Psykologen Anna Bennich Karlstedt hjälper oss att ge en psykologisk bakgrund till besserwisserns läggning och ger oss tips på hur man bäst handskas med en viktigpetter. Science fiction-författaren Karin Tidbeck ger oss en inblick i hur en värld utan besserwissers skulle kunna se ut. Axel Pettersson från Wikimedia tittar in i talkshowstudion och berättar om hur felfinnande på Wikipedia fungerar och huruvida sajten är ett himmelrike eller en dödsstöt för planetens besserwissers. Ljudtekniker: Elvira Björnfot Publik- och webbredaktör: Ronnie Ritterland Redaktör: Maja Åström Producent: Tommie Jönsson marikaip4@sverigesradio.se

Nene Ormes, Karin Tidbeck och Kristina Hård från Malmögruppen pratar om det mest förbjudna – recensioner! Läser vi dem? Gråter vi över dem? Svarar vi på dem? Vad betyder egentligen recensionerna för en författare? Vi försöker ge ett svar – helt ur författarperspektiv givetvis! Och det hela kokar ner till:  ”Ja, ge oss fler recensioner!”

En idé kommer sällan ensam (vanligtvis färdas de i grupp), men var kommer de ifrån? Kan författare bara sträcka ut en hand och fånga dem i flykten eller existerar möjligtvis den där påsen varifrån de drar dem som en vit kanin ur hatten? Karin Tidbeck, Nene Ormes och Kristina Hård från Grupp Malmö pratar idéer […]

Michael Damian Thomas and Shira Lipkin join me to talk about Flying Higher, an anthology of superhero poetry, which you can get for free on Smashwords. Michael is @michaeldthomas on Twitter and Shira is @shadesong. Shira has also recently had a poem in Apex Magazine and a story in Clockwork Phoenix 4. Michael is also the co-editor of Queers Dig Time Lords and Glitter and Mayhem. Recent conventions with awesome looking program items included Diversicon and Nine Worlds. Catherine Lundoff has two different Diversicon posts! I don't have any Nine Worlds posts to share, but if you were there and want to write in about your experience, I'd love to hear all about it.I also wanted to say congratulations to all the World Fantasy Award nominees! Awesome to see N.K. Jemisin, Caitlin R. Kiernan, Karin Tidbeck, Charles Tan, Kaaron Warren, Meghan McCarron, and L. Timmel Duchamp on the ballot.Finally, Circlet Press is having a Summer Reading Sale! Send feedback to julia@juliarios.com, mention @outeralliance on Twitter, or say hello in person at WorldCon!

On a beach by the sea stands a gutted stone tower. A man is climbing up the remains of a staircase that spirals up the tower's interior. Vivi sits on the roof, oblivious, counting coins that have spilled from her breast pocket: one fiver, three ones, one golden ten. She's only wearing a worn pair of pajamas, and the damp breeze from the sea is making her shiver. She has no memory of how she arrived, but is vaguely aware of the sound of footsteps. Narrated by Kelly Catey.

n this episode of the Strange Horizons podcast, editor Anaea Lay presents Karin Tidbeck's "I Have Placed My Sickness Upon You."