It’s only been a week since Jonathan and Gary sat down to chat with Nicola Griffith about her new book, Spear, but in a bid to get back on schedule, they took a moment to record a new episode for the coming long weekend.

They kick off chatting about travel during the pandemic and the coming WorldCon, before Jonathan admits he’s only just read Ursula K. Le Guin’s A Wizard of Earthsea, and then they go on to talk about Le Guin’s work, the oddities of book buying and collecting, and then our hosts attempt to answer the age-old questions: do you need to read a book? if so, why? do you need to keep book? which ones can you get rid of, and how?  Really, it’s a ramble that kicks off with Earthsea and ends up chatting about books. It’s a Coode Street podcast.

As always, our thanks for your patience with our rambles. We hope you enjoy the episode, and see you again pretty soon!

This time out, Jonathan and Gary are joined by the brilliant Nicola Griffith, whose Spear, out this month, revisits Arthurian tales from an entirely new perspective. We chat about how the novel came about, Arthurian literature as fan fiction, the wonderful illustrations by Rovina Cai, and what it was like to record the audiobook. We also discuss its similarities to and differences from her well-received historical novel Hild and its forthcoming sequel Menewood, as well as Nicola’s classic early novels Ammonite and Slow River, her recent So Lucky, and forthcoming reissues of her Aud Torvingen novels, beginning with The Blue Place.

With Gary just back from ICFA in Florida, he discussed whether this will really be the year of re-emergence, with both the World Science Fiction Convention in Chicago and World Fantasy Convention in New Orleans in the offing. This led, as it does, to discussion of the Hugos, whether small categories with few nominations should be dropped, whether other categories should be added, and whether major historical studies such as Mike Ashley’s five-volume The History of the Science-Fiction Magazines really have a chance of being seen because of availability issues, as compared to the increasingly broad definition of “related work.”

Inevitably, we chatted about new or forthcoming books we’re excited about. We both liked Guy Gavriel Kay’s All the Seas of the World, Alix E. Harrow’s A Mirror Mended, and Christopher Rowe’s These Prisoning Hills, while Jonathan is tempted by Karen Joy Fowler’s new novel Booth and Gary’s about to start Samit Basu’s The City Inside. 

Of course, there are lots of digressions in between, including the nature of historical fiction and nostalgia for printed books in the age of e-books (at least for reviewers and critics).

After reminding listeners that the deadline for Hugo nominations is fast approaching on March 15 (and reminding them once again of the eligibility of this podcast for Best Fancast and of Jonathan for Best Editor, Short Form), we move on to the much-discussed, record-setting Brandon Sanderson Kickstarter, and the question of whether it really matters to anyone other than Sanderson and his readers. Acknowledging that Sanderson readers are fully likely to get exactly what they are expecting, this led us into a brief discussion of reader expectations, also the topic of a recent essay by Molly Templeton on Tor.com. While occasionally we come across a book with almost no prior knowledge or publicity, most books come with expectations based on the author’s previous work, or even the publisher’s reputation.

Some of the authors discussed here, and some that Jonathan and Gary are currently reading or expecting to read, include Guy Gavriel Kay, R.F. Kuang, Kelly Barnhill, Nghi Vo, John Crowley, and Karen Joy Fowler. At the end, we touch briefly upon the question of history in fiction, and the different strategies of using entirely fictional characters, almost entirely historical figures, or a mixture of both.