E. Lily Yu @elilyyu@mastodon.social

Belated #introductions:

Does what it says on the label. I write things like
http://clarkesworldmagazine.com/yu_04_11/
and
https://hazlitt.net/longreads/view-top-stair
and sometimes things like
https://www.youtube.com/watch?v=GaP6uJ4yJLI

What's on tap here: bad dad jokes, slow posts, fiction like knives, and the occasional mushroom

From Gino 2015, Understanding Ordinary Unethical Behavior:

"A person’s moral behavior can be affected by the moral actions of just one other person. Gino et al. found that when an in-group member behaves unethically and the behavior is visible to others, people follow suit: they behave unethically themselves. Others’ behavior can influence our own even when the bond we share is quite labile or subtle. For instance, sharing the same birthday of a person who cheated leads us to cheat as well..."

"The Doing and Undoing of Jacob E. Mwangi" hits newsstands in the May/June issue of Asimov's today.

I'll be reading "Three Variations on a Theme of Imperial Attire" from New Suns at University Bookstore in Seattle on Thursday at 6, along with Alberto Yáñez and Nisi Shawl.

Always a relief to read a story you wrote over a year ago and discover that you like it. "The Doing and Undoing of Jacob E. Mwangi" is out in the May/June issue of Asimov's Magazine.

Utopia and video game development in a future Nairobi.

I was on KUOW today, discussing the Wing Luke exhibit, VR experience "Dark Shapes," and the short story it was based on, "The Wretched and the Beautiful," with Kelly Campelia and Michi Trota!

https://www.kuow.org/stories/the-aliens-arrived-unexpectedly-at-6-42

AWP appearances:

Friday 9am
Eco-Fabulism: Five Years Later

Saturday 10:30am
Women of Pacific Northwest Science Fiction and Fantasy: A Reading

All I want is the sun and stars, I'm not asking for the moon here

"Formal invention is not inherently progressive, as we have learned from video clips, computer graphics, and sampling. Formal invention has a radical purpose when used to convey unconventional points of view, that is to say when it is used to expand what is conveyed about human experience" (83).

"Reimagining the world becomes far more difficult, and reflecting back what power brokers and institutional administrators think about themselves feels essential to survival. This is a much more difficult environment to imagine one's self as an artist, negotiate the expense of art-making, and—most challenging of all—to be allowed, by the tight fist of the prevailing institutions, to emerge without losing one's soul. There seems to be no other game in town. Right now" (82).

"Under gentrification, what is possible for young artists, hence how they see themselves, is dramatically different. They cannot afford to live or work. They are faced with conformity of aesthetics and values in their neighborhoods. Conventional bourgeois behavior becomes a requirement for surviving socially, developing professionally, and earning a living. By necessity, their goals are altered."