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Hopkinson's stories are very much about finding one’s place in the world, about battling hierarchies and systems of oppression, and about empowerment.Female readers need voices like hers, LGBT readers need voices like hers, and so does the genre of Weird fiction.In other words, my reread merely reflected the books' contents back at me.The thing to be alert to in the experience of future-shocks, one deduces, is to being deceived by the sound of the temporary in the term: each change might be rapid, seemingly transient, until the next; but each change is sweeping and thorough, creating newer histories of moments.Each queer union is as hopeless as its heterosexual and straight counterparts.There is neither judgement nor condemnation, yet at the same time there is an equal lack of celebration or hopefulness. As such, these pieces are necessarily impressionistic and often dreamlike, sacrificing character and plot in favor of style and feeling.
Yet here the credits are, and I don't really feel like I understand what I've just watched.I began to find myself perversely reminded of an old sketch by Stewart Lee and Richard Herring.Lee’s Jesus is delivering a parable to his disciples, but whenever Herring’s Matthew attempts to unpack one of his metaphors Jesus forestalls him with a beatific “Ahh!In the year 2K16, it’s understood that the bar is high for white writers who choose to tell these stories.
I was expecting to write a review covering multiple points that are generally made in these conversations; by the end, I was just angry.
It might make sense, as you read this, if you imagine my face frozen in a rictus of confused (and occasionally horrified) joy, as that might be a start to understanding the sheer depth of emotion I've felt over these two and a half hours of film.