Author: Mary Daniels Brown

Literary Links

Is the literary trend toward passive women progress? Maybe we’ve been misreading

Lynn Steger Strong writes that Rachel Cusk’s Outline trilogy “broke open a new and surprisingly vital form: the novel of passivity.” Strong is happy to see that, for the last decade or so, women’s fiction has been recognized for probing what the novel—“forms built by and for males”—can be:

In particular, novels about a woman thinking, being talked at, are being actively considered. As opposed to the Great Male Novels that centered agency and action, these books are being seen as an expansion of the form, a shaking off of its conventional demands. Often they are built in fragments, structured around failure, absences, passivity and lacks. They defy the novelistic demands for a certain type of resolution; they land in spaces of confusion and of questions, refuse to give clear lines between cause and effect.

Evolution of a Reader

Andi Diehn lovingly describes how her reading—not just the books read, but the process and purpose of reading—has changed from age 10 through college, then through graduate school.

I can relate. I left graduate school after completing the coursework, though not the dissertation, for a Ph.D. in literature after realizing that the academic experience did not correspond to my joy in and love of reading literature.

How Sci-Fi Writer H.P. Lovecraft’s Appalling Legacy of Racism Inspired HBO’s Lovecraft Country

HBO’s new series Lovecraft Country is based on Matt Ruff’s novel of the same name. This article takes a look at why Ruff decided to use Lovecraft’s work as the basis for an examination of American bigotry: “the fact that Lovecraft himself was deeply racist and anti-Semitic. And while many long-dead artists espoused beliefs that are abhorrent by 2020 standards, Lovecraft was even a bigot for his own time.”

This short article offers an overview of the writer and his legacy.

‘We’ve Already Survived an Apocalypse’: Indigenous Writers Are Changing Sci-Fi

“Long underrepresented in genre fiction, Native American and First Nations authors are reshaping its otherworldly (but still often Eurocentric) worlds.”

there has been an explosion of novels, comics, graphic novels and short stories from writers blending sci-fi and fantasy with Native narratives, writing everything from “slipstream” alternate realities to supernatural horror to post-apocalyptic stories about environmental collapse.

Poets and novelists have been writing about life under COVID-19 for more than a century

Rachel Hadas, professor of English at Rutgers University, shares the idea “that good art gives a clear picture of what is happening – even . . . if it hadn’t happened yet when that art was created.”

Here she gives some examples from literature written between 1897 and the middle of the 20^th century.

One Twitter Account’s Quest to Proofread The New York Times

“In 2017, the Times dissolved its copy desk, possibly permitting more typos to slip through. Meet the anonymous lawyer who’s correcting the paper of record one untactful tweet at a time.”

The former English teacher and copy editor in me couldn’t resist this article. I’m often distressed by the glaring errors in punctuation and grammar that I see just about everywhere, not just in The New York Times. But I don’t think I’d have the stamina that the person behind this Twitter account seems to have.

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Ray Bradbury’s 100th Birthday

Post author By Mary Daniels Brown
Post date August 22, 2020
No Comments on Ray Bradbury’s 100th Birthday

Today marks the 100^th anniversary of the birth of author Ray Bradbury.

“I can imagine all kinds of worlds and places, but I cannot imagine a world without Bradbury.”

Neil Gaiman

To celebrate this event, writers, actors, and librarians will present the Ray Bradbury Centennial Read-a-Thon from August 22 through September 5, 2020.

“I was warped early by Ray Bradbury… As a young teenager, I devoured Ray Bradbury’s Fahrenheit 451.”

Margaret Atwood

For more information about the life and works of Ray Bradbury, visit this website.

“Without Ray Bradbury, there would be no Stephen King.”

Stephen King

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Alan Dershowitz claims a fictional lawyer defamed him. The implications for novelists are very real.

on Charles of the Washington Post reports that Alan Dershowitz, a real-life attorney, claims that he was defamed by a fictional attorney on the CBS All Access show The Good Fight.

This may sound comic, “But his complaint, if successful, could pose a challenge to the vibrancy of contemporary historical fiction and biographical fiction — indeed, to any creative work that includes interactions between fictional and real-life public figures,” writes Charles.

What Irony Is Not

“A handy guide to distinguishing the notoriously slippery concept from its distant cousins coincidence, satire, parody, and paradox.”

In this excerpt from his book Irony and Sarcasm, Roger Kreuz, Associate Dean and Director of Graduate Studies in the College of Arts and Sciences and Professor of Psychology at the University of Memphis, attempts to define this notoriously slippery term and differentiate it from related concepts such as coincidence, paradox, satire, and parody.

Author Angie Thomas on How Books Are Transforming the Next Generation: ‘They’re Realizing Their Power’

“I believe in the power of books and how they shape young people for the future,” Thomas declared. “I’m very hopeful that we’re giving them better tools so that they could be better leaders than any of us ever imagined.”

Angie Thomas, whose 2017 YA debut novel was The Hate U Give, believes books can inspire and empower the world’s future leaders.

Listen Up: The Benefits of Audiobooks for Your Heart and Mind

I’ve always thought of audiobooks as a way to get more reading done while doing other tasks such as cleaning or folding laundry. Here Stacey Megally bolsters that function with information on the mental, physical, and emotional benefits of audiobooks.

Watch more TV to understand the backlash against the women in the running for vice president

Beth Daley, co-author with Kristina Horn Sheeler of the book Woman President: Confronting Postfeminist Political Culture, examines “how fictional and actual women presidential figures are framed in news coverage, political satire, memes, television and film. Our close reading of these diverse texts reveals a persistent backlash that takes many forms: satirical cartoons that deploy sexist stereotypes; the pornification of women candidates in memes; and news framing that includes misogynistic metaphors, to name a few.”

Reading as a Form of Protest

Gracie Bialecki lauds reading as a form of protest because of novels’ ability to increase empathy by immersing readers into the lives of characters different from themselves.

Among the books she cites are Black Boy by Richard Wright, The Hate U Give by Angie Thomas, and Sula by Toni Morrison.

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Many writers say they can actually hear the voices of their characters – here’s why

I don’t write fiction, but I read a lot about and talk with people who do. I’m always fascinated when fiction writers say that a character either appeared and demanded to be written about or appeared to object when the writer wrote the character in a particular way.

Here’s a fascinating look by John Foxwell, Postdoctoral Research Fellow in the Department of English at the U.K.’s Durham University, into how writers experience this phenomenon. Foxwell and colleagues surveyed 181 writers at the Edinburgh International Book Festival in 2014 and 2018.

“. . . the more researchers delve into thought and imagination, the more difficult it is to say exactly how much control over our thoughts and actions any of us actually have – and to what extent the control we feel we have is an illusion.”

How Phillis Wheatley Was Recovered Through History

“For decades, a white woman’s memoir shaped our understanding of America’s first Black poet. Does a new book change the story?”

Elizabeth Winkler reports on the life of Black poet Phillis Wheatley and examines a new book, The Age of Phillis, by poet and professor Honorée Fanonne Jeffers. In her book Jeffers attempts to understand the only version of Phillis Wheatley’s life, written 50 years after the poet’s death, by Margaretta Matilda Odell, a white woman who claimed to be a “collateral descendant” of Susanna Wheatley of Boston, owner of slave Phillis.

In turbulent times, culling my book collection gave me the illusion of control. Then the dilemmas began multiplying.

Michael Dirda writes that over the past two months “I’ve been sorting and culling the vast number of books I’ve accumulated in a lifetime of reading and collecting.” The COVID-19 pandemic has produced a “persistent feeling of helplessness, frustration, anger and mild despair,” but he hoped that going through 300 boxes of books and deciding which to keep and which to part ways with would give him a feeling of control.

“However, making these decisions has turned out to be harder than I expected.”

Read some of the dilemmas he faces in deciding which one of multiple copies of the same book he should keep.

A Novel Way to Think About Literary Categories

Here’s a big topic I’m still trying to get my head around: Tim Parks sets out to answer the question “Why do we categorize novels?” In the article linked here he explains how he found similarities between a number of authors, all of whose works center around the question of belonging to a particular group.

But this is only the first article. There are three more articles in the series, each dealing with another such category. (This introductory article contains a link to the entire series.) Parks constitutes his categories as “clearly defined hierarchies of value, or centers of interest, generating distinct, or at least recognizable, types of plot and character interaction.”

Over the course of the four articles Parks arrives at four fictional categories, or fiction that centers around one of these four “distinct value systems”:

stories focused on the characters’ relations to the community (belonging)
around conflicts between indulgence and renunciation (goodness)
around a tension between the craving to be free and a need to feel protected (liberty)
those related to winning and losing: confidence and inadequacy, strength and weakness, complacency and resentment, envy and emulation, seducing and succumbing, jubilation, but also wise resignation (power)

So if you’re spending some of your pandemic downtime categorizing and rearranging your book shelves, why not give Parks’s system a try?

15 Extraordinary Books You Can Read in One Sitting

“The one-sitting novel isn’t just something you can read in one afternoon—it’s something you should read in one afternoon. The one-sitting novel is perfectly structured to be consumed as a complete, transporting experience, whether that’s a breakneck ride through a thrilling narrative, or a slow, dreamy fog that envelops your mind as you page through,” writes Adrienne Westenfeld for Esquire.

I was attracted to this list mainly because my ability to focus over extended periods of time has been hampered by the uncertainties of the COVID-19 world. Westenfeld says the upper limit of her choices here is 250 pages, which seems appropriate for a book to be read in one day.

How to Show Kids the Joy of Reading

If you need a truly feel-good story—and who doesn’t need one of those right now?—read about how one teacher in Tennessee helped pilot a project that has boosted primary students’ reading comprehension and made them eager and excited about reading.

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Looking at Epic Poetry Through 21st-Century Eyes

“New translations of the ‘Aeneid,’ ‘Beowulf’ and other ancient stories challenge some of our modern-day ideas.”

Classical epic poetry has been the basis of the Western literary canon for centuries and has helped shape social values and political identities as well as literary history. But new translations of such epics as Vergil’s Aeneid, Beowulf, and Spenser’s The Faerie Queene aim to bolster “a sense of urgency about restoring nuance to the public’s understanding of the [epic] genre”:

As a series of political crises have, in the West, posed fresh challenges to the stories that have shaped our norms and principles, those who study epics see critical readings as an increasingly vital endeavor.

Why Stories Makes Sense of Our Lives (and Relationships)

“What is the essence of a person? When we profess to know someone, that is, really know someone—like a close friend, or a husband or wife—what is it that we know?”

In this excerpt from The Act of Living: What the Great Psychologists Can Teach Us About Finding Fulfillment, clinical psychologist Frank Tallis illustrates why “We have a natural inclination to think of ourselves—our past, present, and future—as an ongoing story.”

The Scariest Books

“Whether you’re scared most by graphic body horror, the uncategorisable, or the blurring of boundaries between supernatural menace and psychological unraveling, this list will have something for you.”

Xavier Aldana Reyes, editor of Horror: A Literary History, discusses five scary books. “With horror novels and films, you know you’re experiencing fear in a safe space that you ultimately control,” he writes.

Joan Frank ~ I Say It’s Spinach

Author Joan Frank explicates what she calls a tendency “to editorialize in the course of storytelling” that she began noticing in literary fiction a few years ago. She began noticing novels and stories that contain an agenda, “bearing a Message, with a capital M.”

While these agendas—on topics such as human rights, climate change, gender fluidity—may be well intentioned, she argues that they are not art. She argues that, although such causes are worthy and important, “They are not the story.” Furthermore, “I must insist that art that is art—at least in terms of literary fiction—wants nothing to do with lobbying or lobbyists.”

Also see propoganda novel.

An Elegy for the Landline in Literature

I am old enough to remember when a phone ringing in the middle of the night indicated that something very bad had happened. Of course, that ringing phone was a landline, the only kind of phone we had back in those days.

“Since its invention, in the nineteenth century, the landline has often been portrayed as sinister—the object through which fate comes to call,” writes Sophie Haigney. She discusses how the landline was used in literature “as an open line of possibility, just waiting to ring,” that has been eliminated by the ubiquitous cell phone.

How to read more books

“Modern life can feel too frantic for books. Use these habit-building strategies to carve out time for the joy of reading”

I avoid advice on how to read more books that advocates speed reading because I believe that reading requires more time for interacting with the text than speed reading allows. Reading better is more important than simply reading more.

But this article is aimed at people who in the past have loved their reading life but, because of the proliferation of forms of information delivery and entertainment, haven’t been able to give pleasure reading the attention they’d like.

Tags epic poetry, horror literature, storytelling

Discussion How Fiction Works

How to Recognize an Unreliable Narrator

Post author By Mary Daniels Brown
Post date July 30, 2020
No Comments on How to Recognize an Unreliable Narrator

Thanks to these two bloggers for sponsoring the 2020 Blog Discussion Challenge:

Nicole at Feed Your Fiction Addiction
Shannon at It Starts at Midnight

You can join the discussion challenge at any time during 2020 by clicking on either link above.

Here’s a question that comes up periodically on literary sites:

I’m having trouble reading books with unreliable narrators. How exactly do you know a narrator is unreliable?

When I saw the question again recently, I realized that, although the question gets asked a lot, I don’t think I’ve ever seen an answer.

It’s a hard question to answer for two related reasons:

The discussion requires specific examples as illustration.
Naming the source as an unreliable narrator gives the whole thing away.

Since I try to keep this blog free of spoilers, I’m going to try to answer the question without citing specific texts. So please put up with my silly, contrived examples. Most of them I’ve completely made up, and others I’ve lifted and generalized from real sources.

But before we start, some definitions. A narrator is the one telling the tale. Sometimes narrators inadvertently deceive readers, such as children who report events that they are too young to understand the meaning of. These are called naive narrators. But unreliable narrators fail to provide readers with adequate information from which to make inferences and judgments. Sometimes these narrators may be a bit naive (that is, they may not provide certain information because they don’t know it), but most often—and, most interestingly—unreliable narrators deceive readers for their own purposes.

The considerations here aim to help you uncover the willfully unreliable narrators, the ones that have some personal reason for controlling the information they dole out to readers. Remember, though, that these narrators may be lying to themselves as much as to the readers.

Here are some examples that suggest a narrator may not be telling you the whole truth.

Inconsistent Details

“What a tangled web we weave when first we practice to deceive.”

As with people in real life, often the first indication that a narrator is deceiving us is an inconsistency in details over time. Sometimes these inconsistencies involve seemingly small details: “My mother died when I was five years old” vs. “My mother died when I was in high school.” Other times the differences may comprise whole chunks of the narrator’s life story, such as education, work experience, and marital history.

Inconsistent details are often the first and most tell-tale indications that things in this narrative may not be as they seem.

Unexplained Details

I recently read a thriller in which the narrator said, almost as an aside, “My husband handed me my medication and a glass of water to swallow the pills with.” This struck me as odd, but it wasn’t until the second time she said the same thing that all my alarm bells went off:

What exactly is this medication?
What disease or condition is it used to treat?
Why is her husband (who is not a doctor or nurse) dispensing this medicine to her? Why isn’t she in charge of her own medication?
What are the possible side effects of this medication?
What are the potential effects of taking either too much or too little of this drug?

What isn’t being said is often just as important as what is being said. Ask yourself the questions and examine the narrative’s lack of answers.

Title: How to recognize an unreliable narrator — **Pin** this

The Narrator’s Interactions with Other Characters

A narrator’s interactions with the novel’s other characters may suggest reasons for his behavior. Does the narrator act arrogant toward some characters but subservient or fearful toward others? Why?

Sometimes other characters, particularly minor ones whose number of appearances is limited, may feature in the novel for the primary purpose of providing some other viewpoint against which to measure the narrator’s actions. One novel I read not too long ago involved a first-person male narrator who became fascinated by, then obsessed with a woman visiting his town. Near the end of the novel his female family friend tells him, “My father and I tried to tell you her behavior was suspicious.” This remark provides an external yardstick against which readers can evaluate the narrator’s reaction to the visitor. This minor character lets us know we were right in our suspicions about the narrator, that other people shared our concern over how he fell under the influence of this visitor.

Change in Narrator’s Voice

How the narrator acts, thinks, and speaks over the course of the novel can also clue readers in to an unreliable narrator. A narrator may start out sounding logical and rational, but narration that gradually becomes more chaotic and desperate could indicate a decline in the narrator’s mental state.

Writing an effective unreliable narrator challenges writers’ skills. The author must sprinkle suggestions that raise our suspicions over the narrative like salt, while at the same time planting enough red herrings to keep us guessing and turning the pages.

Recognizing unreliable narrators is just as challenging for readers as creating them is for authors. You can’t skim or speed read here. Slow, careful reading, paying attention to every detail and asking unanswered questions, is necessary to recognize when a narrator isn’t playing straight with you.

The most skilled authors dish out their clues about the nature of the narrator slowly and subtly. Appreciating that process and recognizing an unreliable narrator can be one of the most satisfying rewards of reading fiction.

Quotation

The Functions of Art

Tags Ursula K. LeGuin

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Viewing Literature as a Lab for Community Ethics

The COVID-19 pandemic has brought to the forefront many bioethical questions, such as, when resources are limited, which lives should be saved and which sacrificed? Maren Tova Linett, author of Literary Bioethics, argues that fiction, with its ability to present imagined worlds, offers the chance to explore such concerns: “Fiction has the virtue of presenting vividly imagined worlds in which certain values hold sway, casting new light onto those values. And the more plausible we find these imagined worlds, the more thoroughly we can evaluate the justice of those values.”

Literary Bioethics considers novels such as The Violent Bear It Away by Flannery O’Connor, Brave New World by Aldous Huxley, The Island of Doctor Moreau by H.G. Wells, and Never Let Me Go by Kazuo Ishiguro.

In Publishing, ‘Everything Is Up for Change’

It’s been impossible to avoid at least cursory exposure to all that’s been going on in the publishing industry over the last year or so. Here, writing in The New York Times, Alexandra Alter and Elizabeth A. Harris look at some of the people now poised to champion change.

over the last year, deaths, retirements and executive reshuffling have made way for new leaders, more diverse and often more commercial than their predecessors, as well as people who have never worked in publishing before. Those appointments stand to fundamentally change the industry, and the books it puts out into the world.

How Fantasy Literature Helped Create the 21st Century

Since I don’t read much fantasy (“so many books, so little time”), this article caught my eye. It’s the introduction to The Big Book of Modern Fantasy, edited by Ann and Jeff VanderMeer, and published by Vintage Books on July 21, 2020.

we have worked from a simple concept of what makes a story “fantasy”: any story in which an element of the unreal permeates the real world or any story that takes place in a secondary world that is identifiably not a version of ours, whether anything overtly “fantastical” occurs in the story. We distinguish fantasy from horror or the weird by considering the story’s apparent purpose: fantasy isn’t primarily concerned with the creation of terror or the exploration of an altered state of being frightened, alienated, or fascinated by an eruption of the uncanny.

Modern fantasy, the authors write, begins with the end of World War II in 1945. It was soon after that date that “fantasy solidified into a publishing category,” separate from horror and science fiction. Since then, fantasy has become more mainstream than it was previously, although some literary magazines still refer to stories with fantastical elements as “‘surrealism,’ ‘fabulism,’ or ‘magical realism’ to distinguish them from genre fantasy.”

This article has encouraged me to think about expanding my reading horizon and giving some contemporary fantasy a try.

Pain Is Universal—That’s What Binds All of Crime Fiction Together

“Pain, whether physical or emotional is a significant part of the overall narrative” of all the various subgenres of crime fiction, writes S.A. Crosby, author of the recently published novel Blacktop Wasteland.

The Desires of Margaret Fuller

In May of 1850, after four years abroad, Margaret Fuller set sail from Livorno to New York, bound for her native Massachusetts. She was just about to turn forty, and her stature in America was unique. In the space of a decade, she had invented a new vocation: the female public intellectual.

From 2013, a portrait of Margaret Fuller, “once the best-read woman in America,” the first woman American foreign correspondent and combat reporter, and author of Woman in the Nineteenth Century, a foundational work of feminist history.

Tags crime fiction, ethics, fantasy, Margaret Fuller

Libraries

Look! A Library Book!

I’ve been jealously eyeing people’s Instagram and Facebook posts showing off their book hauls from their library’s curbside pickup service. A lot of libraries opened for pickup while I’ve been not-so-patiently waiting for announcements from both my city and county libraries.

Now my county library has finally figured out how to handle pickup service. They’re offering only walkup or bikeup pickups at my location rather than curbside service because there’s not enough space on the street for cars to line up while still keeping two-way traffic open. Therefore, they’ve had to set up two pickup lines on the side of the facility, in a space between two buildings.

I was thrilled yesterday to pick up The Only Child by Mi-ae Seo, which I’ve had on request for six or seven months.

On a related note, I hadn’t driven in so long that I almost forgot how.

There’s still no word on when pickup will be available at city libraries, but I’ve always had more luck getting books I want from the county library anyway.

Long live public libraries!

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Post author By Mary Daniels Brown
Post date July 12, 2020

Crime Fiction Trains Us for Crisis

Writer Sulari Gentill says that, since crime fiction “essentially tells the story of a crisis,” is has helped to prepare us for the world we all now find ourselves in.

This year we have already faced fire, flood and pandemic. We had fled our homes and been confined to them. And we have risen up against murder and prejudice. Each of those actions have required decisions about how to protect ourselves and those around us. They have been made in the face of real threats to personal safety.

Tie a Tourniquet on Your Heart

“revisiting Edna Buchanan, America’s greatest police reporter”

I have written (here and here) of my love for Edna Buchanan’s crime novels set in Miami featuring Cuban-American journalist Britt Montero.

Before she turned to writing crime novels, Edna Buchanan was a crime journalist in Miami. She won a Pulitzer Prize for her newspaper work in 1986.

In this article Diana Moskovitz addresses the issue of how television, movies, and other elements of popular culture have helped create the current problem in the U.S. of police using unnecessary force to subdue suspects. This is an argument that isn’t new. I’ve seen many stories lately of how crime dramas such as Blue Bloods and the various iterations of Law & Order have shaped the public attitude that law enforcement only uses extreme measures to subdue criminals and force information out of them when absolutely necessary. These dramas have taught us to excuse such behavior as the necessary price society pays for protection and safety, the argument goes.

And, according to Moskovitz, Edna Buchanan is one of the well-known crime reporters whose work has contributed to this public attitude. Moskovitz is talking about Buchanan’s reportorial work here, not her novels. On rereading The Corpse Had a Familiar Face, the 1987 book about her reporting that made Edna Buchanan a nationally known figure, Moskovitz realized:

. . . how police positive it was. How it is littered with calls for tougher justice, using victims as props to demand harsher sentences, and how it ignored all the ways American society sets people up to break the law in the first place. How bad behavior by officers—even the one Buchanan briefly married—is condemned, but never really traced back to any larger issue. How Buchanan’s words have reinforced institutions that a growing American conscience believes are no longer, and perhaps never were, inherently good, or even necessary at all.

After the publication of The Corpse Had a Familiar Face, Buchanan became the public model for what a good crime reporter should do: “the Buchanan model is not, primarily, about police accountability. It’s about writing a story that leaps off the page with stunning details.”

Kamala Harris is wrong about science fiction

Author Charlie Jane Anders writes in The Washington Post:

Sen. Kamala D. Harris was half right in her speech launching her 2020 presidential campaign when she said we need to address climate change based on “science fact, not science fiction.” The truth is, we need both. Science fiction has an important role to play in rescuing the future from the huge challenges we’re facing . . .

“Stories about climate change might be fiction, but they can help to sway people’s hearts and minds in a different way than a recitation of the undeniable facts,” Anders writes. “And because science fiction is the literature of problem-solving, our made-up stories about science and innovation can play an important role in helping us to regain our faith in our own ability to create change.”

How Students Built a 16th-Century Engineer’s Book-Reading Machine

Agostino Ramelli, a 16^th-century military, “designed many contraptions for the changing Renaissance landscape.” One of his machines aimed at allowing users to read multiple books at one time. Although Ramelli never built the machine, its possibility has long intrigued people who study the history of the book.

This article from Atlas Obscura details how, in 2018, a group of undergraduate engineering students at the Rochester Institute of Technology set out to build the machine. It’s worth looking at the article just for the photos and illustrations, but the text is pretty intriguing as well.

20 Books to Read in Quarantine This Summer

“Our picks for immersive, escapist, or nostalgic reading—wherever you are”

If you still need more suggestions for reading to occupy yourself with during this pandemic, editors from The Atlantic have some suggestions, curated “with an eye toward stories that will resonate during a summer of continued social distancing and tentative reopenings.” They’ve “ loosely grouped them according to literary cravings you might have,” such as these:

IF YOU WANT TO GET LOST IN A PLACE
IF YOU’RE LOOKING FOR A PAGE-TURNER
IF YOU NEED SMART OBSERVATIONS ABOUT LIFE
IF YOU’RE IN THE MOOD FOR A QUEST
IF YOU’RE CRAVING HUMAN CONNECTION

Tags Edna Buchanan, journalism, science fiction

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