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A full life, if a trifle banal

@unamccormack / unamccormack.tumblr.com

A citizen of the universe and a gentleman to boot

Ask me anything (within reason)

With all the madness over at Twitter, I'm experimenting with having lots of online homes. I never really got the hang of Tumblr, but perhaps now's the time to give it a go.

Anyway, this is an "ask me anything" post. I mean, about my books. Don't ask me about particle physics or about anything else, really, because the only thing I know how to do in life is write space adventure novels. But feel free to ask me about that and I'll try to work out how to operate Tumblr as I answer. (I wonder if I can pin posts...? Answer: yes.)

Go for it.

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funkyvampyre

"We live in uncertain times"

I thought their last scene together was missing something

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Continuation of the Orchestra Series. 'Odo an die Freude'. Sorry. @unamccormack thank you very much for the idea of Odo as a percussionist! This is a vision I cannot get rid of now. Too much responsibility and an ability to use mostly everything due to metamorphic essence. For those who want to participate in discussion about this AU, please join here, you are very welcome, I read everything and I am grateful for every glimpse into the orchestra life, ideas and knowledge you provide there :)

Perfect.

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Not me scrolling through the Conclave tag only to see no one talk about the deliberate positioning and framing of the women in this movie.

Pulling up this movie I completely expected to only encounter Sister Agnes as the one woman we see in the trailer, the conclave a space that has been kept from the female members of the church. Now, color me surprised when I started the movie and most of the establishing shots we got were focused on all the women working in the Vatican.

And it is such a deliberate choice, it does the film a disservice not to talk about it.

Because while Cardinal Lawrence is having his fifteenth breakdown during sequestering and Bellini finds the ambitious asshole within himself, Ray does all the leg work, and Bel---- we see the women work.

We see the kitchens, we see them cook, we see them stand aside. Most of the time when the Cardinals are conspiring it is the women who interrupt because they are busy working, walking, running errands.

And there is power in that.

I think it is very deliberate how often (and with such lingering gaze) the camera shows us the lives of the other half - partially to connect to the wider themes of the movie, on how Bellini asks for women to get more power but never thanks them, and how Benitez stumps them all by thanking the women preparing their meals when asked to say the prayer (considering his own probably tumultuous relationship to gender within the church).

But it also stands in direct opposition to a long tradition in story telling: servants don't exist. How often the heroes of a regency romance are "alone" because the two hand maidens and three maids don't really count.

Conclave doesn't do that.

It doesn't let us look away.

Between all the petty drama, the politics, and the real life consequences of the conclave, we never stop looking at the people doing all the work.

Yes, we follow the ups and downs of Lawrence and Co, but in doing so the movie reminds us again and again of the women working the kitchen.

And that was just such a powerful artistic choice in a movie about a famously misogynistic church... I loved it. And I had to talk about it.

I got half an hour into the film and thought that I could write a paper on gender in this film (and I got to the end and decided I could write a book). I love how the women took up space and you could a hear a few nuns laughing at the end

And it honours the work. Opus Dei (no, I know) grew out of the idea that all honest labour can be in service of God, which I think is a really powerful idea, imagine of Opus Dei had stuck with it instead of becoming a right wing cult. But Opus Dei was specifically concerned with the work of men, and in fact trafficks women to act as unpaid and otherwise exploited workers doing menial labour.

The nuns we see in Conclave are doing what my dad (a snob) might class as menial labour. They prepare and serve food. In the novel, the Lawrence character notes that they have tidied his room. Sister Agnes is an administrator.

But the way it's filmed, with such care and dignity, their work is framed as being as important as that of the cardinals, if not moreso.

The nuns are less visible in the book, and their work is treated with less respect (the food they prepare is institutional and bland). But Sister Shanumi notes that back in Nigeria, she worked as a nurse; in the Vatican, she is merely a maid, and Bellini's agenda includes appointing women to senior administrative roles within the Vatican.

I think both works critique the idea of a gender-based division of labour, but also honour the work done by the women, which has so often been at best overlooked and at worst despised throughout the Church's history.

Also Agnes is the one who can work the photocopier.

Hullo! I’ve just discovered you’re on Tumblr and had to message you to say how much I am currently enjoying “Hollow Men.” I have a post on my blog about your opening to the book—which is just EXQUISITELY crafted—but I wanted to tell you myself that I stayed up reading it with a flashlight after my wife went to sleep, and I haven’t done that with a book since I was a child. Thank you for that. <3

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Oh this is great to hear. Thank you so much! That book is 20 years old this year: I can’t quite believe it. There are some elements I’d rework now with more experience, but I still love its energy. Huge thanks!

i can't thank your enough for your generous and eloquent answer, so please have this small sketch of the image that immediately popped up in my head at "akret knows absolutely everything" as thanks <3

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Oh my god, that’s amazing! I love it! I love Akret so much; she’s a saint. Thank you!

I thought that "no harm done" "they broke seven of your ribs" "ah but i made several cutting remarks that surely bruised their egos" thing was an incorrect quote someone made up. What the fuck do you mean garak actually said that after getting his shit rocked by klingons

This was the first episode of DS9 I watched, and when I heard these lines my face did this 😍 and the course of my life changed.

Knickknacks sold at Quark’s gift shop

  • Keychains in the shape of the station
  • Pictures of the wormhole with Sisko’s (forged) signature
  • Socks patterned with Cardassian voles 
  • T-shirts that say “I went to DS9 and all I got was this lousy shirt”
  • Emissary bobble-heads with Sisko’s (forged) signature
  • Fried tube grubs
  • Freeze-dried gagh (Worf does NOT approve)
  • T-shirts that say “I went to DS9 and all I got was a vision from the Prophets”
  • Culturally insensitive replicas of Bajoran earrings, but with DS9-shaped ornaments
  • Glittery postcards of the wormhole with Sisko’s (forged) signature
  • Containers of goop labeled as “Changeling Tears” (it’s just cornstarch and water)
  • T-shirts that say “I went to Terok Nor and all I got was aggressively corrected on its new name by a Bajoran Resistance veteran”
  • Trading cards of the senior staff (Nog secretly collects these)
  • T-shirts that say “I went to DS9 and all I got was my back blown out by this sexy beast” with a picture of Morn
  • Baseballs with Sisko’s (real) signature 

Outstanding work. (Pretty sure I've seen some of these on Etsy. Pretty sure I own a couple of these!)

hello! reading your responses to previous asks, i was wondering about your view of queerness on cardassia. in your (wonderful) books, we have two women living together (though they are radicals, so their views might not align with the status quo) and of course garak and parmak, who are keeping their relationship pretty quiet. how would people post-fire view queerness in the rebuilt society? would g+p face discrimination if they were more ”out” or would people be ok with them? i imagine part of it is just garak keeping secrets as usual, and parmak doesn’t seem like the kind of person who would flaunt his private life either… do people like mhevet or akret know about them? thank you for your beautiful writing!

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Hi there! Thank you for your lovely words about the books: cheered me right up while I'm down with flu! My views about queerness on Cardassia evolved vastly over the years I was writing first my DS9 fanfiction and then the books, as I left a narrow Catholic upbringing, found the internet, did a PhD, and also got what I think of my real postgraduate education, learning from the people I met in online communities.

A long time ago I wrote a fanfiction called "Scorched Earth", a DS9 AU where Tain's attack on the Founders is successful, and Garak returns in triumph to Cardassia. I wrote that more or less after the show ended. Garak's return is very bitter, rather than sweet (what a surprise), chiefly because he finds himself (a queer man) trapped serving a repressively patriarchal society (headed by his own actual father). In retrospect I wrote myself (and Garak) into a corner in that story, and didn't find a path to real liberation there. Hey, I was still in my 20s. I'll cut myself some slack. But a failure of imagination.

Some of those ideas came over into the books. We hear the Cardassians, again and again, talk in terms of family, in terms of sons and daughters, and - given how Dukat is sidelined and Ziyal ostracised, and how vehemently Tain denies having a bastard son - it seemed reasonable to think that Cardassia legislates in favour of heteronormative families, and that other forms of being and loving in the world would be illegal. My feeling was that some of this might be driven by a permanent sense of the precariousness of their society: that it's always close to famine, so you have lots of kids to make sure at least one of them gets through, so the family takes on this talismanic status. We know canonically that people are starving on Prime before the Dominion arrives. (As an aside, a lot of DS9's storytelling revolves around the tension between blood ties and what we might call "found" ties. Kira and Ghemor are a prime example of this. I think that's one reason why it's so disappointing when Sisko sends Rugal back to Cardassia.)

I kind of think that Dukat, once the Dominion put him in power, would push through "pro-family" legislation, because - well, isn't he that kind of absolute fascist? (As an aside, I imagine Dukat hating Garak partly for being queer, but also because Garak always makes it perfectly clear that he finds Dukat repulsive - which Dukat can't bear. Garak would sleep with anyone - but he'd never, ever sleep with Dukat. Dukat must hate that.)

So where does this leave the characters in my books? Yes, the lesbian anarchists are radicals, and not really in alignment with the majority (I think one of them talks about being kicked out by her family?). In general, my sense is that your average Cardassian (before the Fire) didn't mind so long as (to use some of those old cliches), people didn't flaunt it, but once Dukat got into power, they turned the other way when arrests or violence were happening.

As for after the Fire: I have a feeling that there are so few Cardassians left that nobody gives a flying fuck who's sleeping with who. It's just good enough that people have survived. Parmak I saw as the product of a time when you would keep your private life private. While Garak wouldn't be caught telling anyone anything about himself and, once he became castellan, might fear for Parmak's safety (or use it as an excuse to keep his secrets). Akret knows absolutely everything. Mhevet knows too, but she and Garak don't talk about it. They don't talk about her girlfriends either. Maybe they would have, in the unwritten final book.

Dear Una, I was blown away by your characterization of Garak in Enigma Tales. How far he's come, while still retaining the mystique and wit that makes him Garak. Is there anything you could tell us about how Julian and his relationships to Garak and Kelas would develop in the third book that was never to be? Would he enjoy staying on Cardassia? (I can just see him overwatering Garak's succulents in the garden with the best of intentions...). Thank you so much!

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Thank you so much for your lovely message! I'm so glad that Garak's trajectory worked for you. I got to do some of the emotional beats of where his journey might end in my Picard novel, Second Self, although naturally it's different in many ways from what I would have done in The End of This Day's Business.

As for Bashir in that unwritten book: he spends most of the book in Garak's old house, under instructions to try to grow roses. He's in contact a lot with Keiko O'Brien, as a result. He's very tired, still recovering, trying to find his way again. Parmak is a regular visitor (Garak is offworld throughout). Parmak is the one that points out that the combination of the doctor, the ruin, and the roses are very significant in Preloc's Meditations of a Crimson Shadow. Bashir admits to Parmak that he never finished that particular book and winged his way through that particular lunchtime, and got away with it too.

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