The fifth in our interview series with Apex Book of World SF contributors, conducted by Charles Tan and published over at SF Signal. And this time, it’s Kaaron Warren:
As far as your question regarding the speculative field of fiction in Fiji, local writers write almost entirely in the realist mode. The works of writers such as Satendra Nandan, Raymond Pillai and Subramani are grounded specifically in the historical past of indenture. These three are part of the original wave of writers who emerged in Fiji especially after the setting up of the USP in 1968. Later writers such as the playwright Larry Thomas also work in the realist mode, Thomas being concerned with the everyday struggles of Indigenous Indo-Fijians and Part-Europeans living on the margins of society. The new wave of writers including Cresantia Koya and Susan Sela also write in the realist mode, Cresantia being concerned with issues of gender and identity. The Rotuman playwright and now film-maker Vilisoni Hereniko was actively involved with play-writing and producing plays at USP in the 80s. His first play “Seras choice” was about cross-cultural relations. His one-act play “The monster” (1988) is a political allegory coming after the 1987 coup. The Indo-fijian poet and academic Sudesh Mishra’s play Ferringhi is an example of fiction that moves away from a realist mode – very symbolic and works on multiple levels.
– read the rest of the interview
Apex Book of World SF contributor, Australian writer and Fiji resident, Kaaron Warren [blog][wikipedia] has recently signed a deal for three books with new HarperCollins imprint Angry Robot – and her first novel, Slights, is now out!
Stephanie is a killer.
After an accident in which her mother dies, she has a near-death experience, and finds herself in a room full of people – everyone she’s ever pissed off. They clutch at her, scratch and tear at her. But she finds herself drawn back to this place, again and again, determined to unlock its secrets. Which means she has to die, again and again.
And she starts to wonder whether other people see the same room… when they die.
Slights is a deeply intense, disturbing read. Death is not the end, but this is not comforting, heartwarming or safe. The misery memoir craze of the last few years has overshadowed horror fiction’s impact with (allegedly) real-life experiences. Now it’s time for horror and fantasy fiction to fight back.