Archives for August 2012
It's okay, mail kiosk.
Not everyone’s ready for a commitment at the same time. Be true to yourself, and take your time. I hope that when you find the right booklets of Lady Liberty/Flag for you, you’ll be very happy together.… Read more »
Because of dollars, I will not be attending Worldcon this year. However, thanks to many people who are awesome, I have an event by proxy, and will have books available! First! Writer Christopher Rowe, who also happens to be a superlative reader, has agreed to read my horror story “Good Fences” during the Nightmare/Lightspeed reading by John Joseph Adams! It’s your chance to get a sneak peek (the magazine doesn’t launch until October), and also a chance to hear Christopher read, if you haven’t had the pleasure. The reading is… Read more »
Ten Things You Should Know About "Premium Rush"
You know, I often call this “Five/Ten Things You Should Know About [Movie].” I didn’t do that for Quicksilver, mostly because I was too busy trying to decide the magical geography of the movie to decide if “should know” was a bit too optimistic given the source material. Determination: That movie takes place in a magical geography that should just wash over you in a big confusing tangle the way it was intended, and that if I was going to use “should know” for movies like Immortals, I might as… Read more »
So, Premium Rush comes out this weekend, and though we’re in the middle of a remake fever like you cannot even believe, no one wants to talk about Quicksilver. Oh, we remember it — a movie like Quicksilver is something you never quite forget — and its similarities to Premium Rush are obvious, so it’s being mentioned, but I want to just take a second to talk about it, because even for the ’80s, this movie is sort of awkward. 1. Our hero, Jack Casey, is a trader who blows… Read more »
I’ve been reviewing some movies for WBAI and affiliates — quick two-minute capsule reviews of movies that strike me. My most recent one can be heard at the WBAI archives (August 16 show); it’s for Cosmopolis, which I had seen just over 24 hours earlier, and was still turning over. Yup, this face is creepy on purpose. Just soak it in. By and large, I think my initial reaction (an interesting movie, with some big flaws, but interesting) still fits, but I wanted to talk about a few things I… Read more »
Miss World 2012
Here’s a thing about beauty pageants: they’re not about beauty. I mean, of course beauty is important. These young women are a particular standard of beauty so cookie-cutter that if you told me the judges took phrenological measurements, I would only be surprised that they don’t televise that part. (“Ladies, please, if you start crying it will impact your forehead-to-eyebrow-ratio!”) But “this is a pageant” is not a phrase used to describe a room full of pretty women. It’s used to describe something that is staged and showy and patently… Read more »

Recent Work

TV Recaps: Elementary, Season 5

TV Recaps: Victoria, Season 1

TV Recaps: Reign, Season 4

TV Recap: Bates Motel, "Hidden"

Fiction: "Everyone from Themis Sends Letters Home", Clarkesworld

Film: How many movies about grief this year? All of them,

Book Review: HIGH NOON: The Hollywood Blacklist and the Making of an American Classic,

Book Review: How to Read a Dress,

Nonfiction: A Doom of One's Own, Clarkesworld

Genevieve on Tumblr

  • Whether you will, or no

    I wrote a piece for VICE about consent as fantasy element in the 18th-century “Beauty and the Beast,” and a little about what happens to the shape of the tale when a retelling (say, I dunno, Disney) alters those elements: “How Disney’s ‘Beauty and the Beast’ Became the Darkest Tale of All.“

    An excerpt:

    The most powerful force in Beauty and the Beast isn’t magic, or even love, but consent. Most retellings of Villeneuve’s version are careful to keep it. The Beast is clear that Beauty must know what she’s getting into. (In Sir Arthur Quiller-Couch’s 1910 version, it’s still more explicit: The Beast warns Beauty’s father to “be honest with your daughter. Describe me to her just as I am. Let her be free to choose whether she will come or no…”) Later, the Beast asks Beauty herself if she comes willingly. And that first dinner is marked by the Beast’s deference to her wishes. Beauty’s earliest surprise is how much power she wields. Even in his nightly request that Beauty marry him, he defers. Andrew Lang emphasized the power dynamics in 1889’s Blue Fairy Book:

    “Oh! What shall I say?” cried Beauty, for she was afraid to make the Beast angry by refusing.
    “Say 'yes’ or 'no’ without fear,” he replied.
    “Oh! No, Beast,” said Beauty hastily
    “Since you will not, good-night, Beauty,” he said.
    And she answered, “Good-night, Beast,” very glad to find that her refusal had not provoked him.

    Lang was one of many who used marriage proposals for the nightly request (Jeanne-Marie Leprince de Beaumont’s 1756 retelling was the first), but Villeneuve was under no illusions about the story’s undertones. In her original, Beast asks Beauty to sleep with him. Beauty’s power is the ability to withhold sexual consent.

    [Full article]


2016 Appearances

Emerald City Comicon
April 7-10, 2016
Seattle, WA

Kent State Wonder Woman Symposium
September 23-24, 2016
Cleveland, OH

New York Comic Con
October 5-9, 2016
New York City

World Fantasy Convention
October 28-30
Columbus, OH