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One must, accordingly, refrain from producing, at the expense of faithfulness, a poem that is too regular, too accomplished. One must be honest and keep to an allusive imperfection. A: It would take a whole book to answer you. I was chiefly thinking of faithfulness to concepts and images, as faithfulness to the rhythm is a matter of course.
To be faithful to a text means that, to begin with, you permeate yourself with it, with its values properly perceived; then, you let it circulate through you—as if involuntarily—during the passage from one language to another. In translation naturalness is obtained suddenly, like a dispensation of grace, after patient efforts.
You cannot imagine the degree to which a text can be grasped once you have long battled with it. You even think you have found out the secret of its genesis. For instance, I am sure that it did not take very long for Shakespeare to write a scene, once he had greatly pondered over it. His thought can be seen leaping, by associations of ideas, from image to image, without regard to the syntax, or to the ambiguities that are scattered along, in a flight of genius.
Q: How relevant is Blake today?
Q: Was Blake ever in danger? Q: Did he remain such a radical all his life? Q: Do you intend to publish them too? Q: What will the next volumes include? Q: How would you define faithfulness with respect to the translation of poetry? Q: What is it, in your opinion, that sustains this flight? I try to explore many different futures, as seen through the eyes of many different kinds of characters. Marc: Is science-fiction a political literary genre to you? Nancy Kress: Yes, because it creates new societies, future or alien or fantastical.
Any work of fiction that imagines a new society is imagining answers to political questions: who has power, how is power being used, what is acceptable behaviour for this society and what is criminal behaviour, what social divisions exist and how are they enforced. These are political questions. But SF has a wider canvas than that, and even a simple story of good and evil like the first Star Wars movie is political because it considers who has power the Empire and who should have it the Jedi knights.
Can you present them to the readers? Why did you choose to make sequels to this novella? Nancy Kress: First I wrote the novella, and it seemed to me that the story was not done. So I wrote the novel also called Beggars in Spain to complete that story. But still it did not seem finished, so I wrote the next two books. For those two trilogies, the story gets stronger, not weaker, in the sequels.
The first shock is that these are not aliens at all, but rather humans taken from Earth Since then, theirs and our evolutionary paths have diverged a little , years is not long enough for much diversion. The two cultural paths, however, shaped by environment and genes, have been radically different. Those groups are both right and wrong, with major international consequences.
In the second book, If Tomorrow Comes , a small group of humans travel to the alien planet, World. They encounter many unexpected situations, starting with a time dilation of 14 years. There are both medical and military crises to contend with, and the protagonists face difficult professional and personal choices.
They have been gone only a few months, but twenty-eight years have passed on Earth. Biological warfare has left Earth largely depopulated and radically changed. The survivors are still at war, both with the microbe-contaminated environment and with a strong terrorist group called New America. Much of the book takes place in a shielded military base in California that houses survivors and, now, the starfarers from World. Some characters continue through all three books, notably geneticist Marianne Jennings.
Both allies and rivals, bound by affection and divided by philosophies, U.
Army Colonel Jason Jennings and eco-pacifist Colin Jennings each seek to implement what they consider the best means to rebuild a shattered United States. Marc: In addition to your science-fiction works, you also have written fantasy novels. Is there a difference when you write fantasy and science-fiction?
And in the smoky hutches then people tell stories of the past summer. So it could get boring for a guy who just wants to listen some music. The album in question allowed me to express the hardest struggle I had to overcome in my life so far. But back then, we appreciate the thought that we are separated from the shiny metal magazine business wheel and have our own Underground thing going. His infectious take on trap dominated the airwaves in France last summer, and constantly blasted from cars, shisha bars and clubs in the French capital. He was a radical libertarian, you know. Shot like an old movie this film is the true recollection of the time a journalist went to London to interview Ava Gardner.
Do you plan to write again fantasy novels? Nancy Kress: Fantasy changes the world as we know it by adding magic.
Science fiction changes the world as we know it by adding science or its results: biology aliens, genetic engineering , physics AI, space ships , astronomy new planets , etc. What is the same across genres is that fiction happens to people, who should be the focus of the story. People, however, are shaped by their societies, which includes magic or science or, sometimes, both. I have no plans to write any more fantasy because now science interests me more than magic.
Marc: In your opinion, is there a difference between being a science-fiction author at the time you started at the end of the seventies and being an author now? How would you describe this difference? Nancy Kress: There are more women and more people of color writing SF now, and getting recognition for it in both sales and awards.