I am thrilled to have a guest post by Seb Doubinsky, author of Missing Signal, which I consider a literary dystopian novel that happens to have aliens (!!). If George Orwell, Franz Kafka & Philip K. Dick had a book baby…well…you get the picture. It is a quick, fast-paced page turner with brilliant writing on every page. A 5 star treat!
Title: Missing Signal
Author: Seb Doubinsky
Release Date: 8/29/18
Genre: Science Fiction, Dystopian
From Seb Doubinsky, author of The Song of Synth, The Babylonian Trilogy, White City, Absinth, Omega Gray, and Suan Ming, comes his highly anticipated next installment in the City-States Cycle. Missing Signal—a riddle wrapped in a mystery inside a government conspiracy? Agent Terrence Kovacs has worked for the New Petersburg Counter-Intel Department propagating fake UFO stories for so long that even he has a hard time separating fact from fiction. Especially when he’s approached by a beautiful woman named Vita, who claims she’s been sent from another planet to liberate Earth.
Seb Doubinsky is a bilingual writer born in Paris in 1963. His novels, all set in a dystopian universe revolving around competing cities-states, have been published in the UK and in the USA. He currently lives with his family in Aarhus, Denmark, where he teaches at the university.
What’s the most difficult thing about writing characters from the opposite sex?
In my novels The Babylonian Trilogy, White City and Absinth, women have a central role and a central narrative voice, and of, course, women are important secondary characters in all my other novels, including Missing Signal. Some of these characters are nice, others are mean, some sweet, others are bitches, some are black, others as white as snow. To be honest, I don’t find it difficult to write from a feminine perspective because I am a radical feminist and I think all these distinctions between “sensitivity” and “rationality”, etc. are not only bullshit, but dangerous. There are cultural differences, yes, by the way genders are constructed -and today, “deconstructed” – but apart from the obvious physical ones -breasts, genitals, menstruation and the baby-carrying thing – I do not find women different than men. What makes a woman’s voice (or any “different” voice, for that matter – is her social condition within a given society. And that’s where it becomes interesting. But a sexed voice is not genetically programmed, at least not in the way it will express itself. It is part of my politics, as a writer, not to distinguish formally between the sexes and the sexual orientations of my characters – some are hetero, others gay, no trans yet, but who know in the future? I believe in differences as much as I believe in similarities, with utmost respect for both. That’s why writing in a female voice isn’t difficult for me. At all.
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