The 5 Cs: a rubric for getting through the storm

My brain likes structure so I’m devising a set of instructions—a rubric, if you will—to help myself stay focused, effective, and determined through the 2025-2026 interregnum. I’m writing this for myself, and posting it as a form of accountability. My approach and goals will not match those set by another person, nor is it meant to. This is meant as a starting point, a place of branching questions, not as a definitive answer. If it is useful to others, then I’m glad. Good luck and staying power to us all.

In honor of FDR’s CCC, I’m calling my rubric the 5Cs:

  1. Cope/curate
  2. Care
  3. Connect
  4. Construct
  5. Challenge

  1. Cope/curate

I’m angry, and I’m going to stay angry, but a cold, determined anger isn’t the same as a flailing, helpless, ‘I can’t do anything’ outrage coupled with ‘there’s nothing that will work’ despair. Falling into an outrage/despair cycle hurts only me and has no effect on what is going on around me. To this end, I will set goals & limits for myself to encourage staying on course for the long haul.

How much news do I want to consume, which news, and does it matter at what point during the day or week that I consume it? If I read upsetting news in the morning, will that derail my entire work day? Then don’t read news in the morning. Wait until post-work, or even the weekend. Which news sources do I want to read? There’s so much good independent journalism that needs my support, the investigators doing the whistle-blowing on subjects many of us would otherwise know nothing about. I know people who have told me that they are simply going to stop reading the news for the next few years. That is also a way to cope; it is not one I choose, because I prefer to face what is going on, but people have different tolerances and what I want most for people is that they survive.

How do I want to use social media? Many people don’t use social media at all, and more power to them. In my case, I use social media to connect & occasionally to let off steam (I need that outlet too). But I don’t need to doom-scroll my way into giving up nor do I need to fan the flames of impotent outrage. Others can do that. I’m not interested. Limits may include scheduling the amount of time I allow myself to be on social media. Timing goals include things like posting in the mornings only if I have specific publishing related news and scrolling/reading only after I have completed work for the day. Will I stick to that? No, of course not. But if I manage a shift of habit more often than not, then I am ahead of the game. Crucially, I will focus on not letting the outrage/despair cycle eat up my creative energy that is better used for working.

Curation goals may mean muting or blocking people (both online and in real life) who bring too much negativity, doomerism, or inter-coalition factionalism to their online vibe. As Ben Franklin said, “If we don’t hang together, we will assuredly hang separately.” That includes not obsessively reading the comments of vile people who cheer on cruelty; no need to wash my eyes in those toxins. Block and move on.

I think it is worthwhile to think ahead of time about what may work best as a coping and curating strategy, and to stay open to adapting it as things change. This is what novelists mean by agency. I can’t stop the latest appalling executive order (or law, or court order) but I can control whether I let despair and rage obliterate my ability to live day to day, and whether I focus on what I can do and the things I do have (which are real and important). I will use my energy for what I can accomplish.

To conclude, I remind myself that when people declare they are acting in order to harm others, to create suffering, to make people cry, and especially when they make such declarations with a sense of pride, strutting, bullying glee, that they are speaking of their intention to act evilly. What we are dealing with is not political disagreement but intent to cause suffering. Framing the situation in that way matters. Throughout history people have struggled through terrible ordeals. Many do not survive, but each of us is here today because some of our ancestors survived those times. I honor the struggle and persistence of those who came before by choosing to move forward with determination now.

  1. Care

Self-care and care for others is critical when we are under stress. Any individual has to make sure they are functioning at a basic level, and once we feel secure (enough), we can reach out to people who need help and support.

I don’t know how to stay this strongly enough: take care of yourself, in whatever ways work best for you and which you can manage. There is no correct answer on to how to do this, no one true path. Each person has to figure this out for themselves (and their strategies may change over time).

My self care falls into two modes:

  1. how to bleed off anger, anxiety, and despair, and
  2. how to build positivity, gratitude (yes, that buzz word!), and joy.

It isn’t stupid to be grateful and it isn’t callous to seek joy in moments or hours or days or weeks or years of our finite lives. Almost all people wish for joy ,for themselves and others. We don’t help people who are suffering by being miserable ourselves, and specifically not when our misery doesn’t do a single thing to alter their suffering. I would go so far as to say misery and outrage are a bit selfish on the part of a person who is not suffering somehow acting as if their public performance of these emotions is more meaningful than actual action being taken to alleviate or expose suffering, harm, and death. This doesn’t mean pretending nothing bad is happening but rather letting others not dictate my response. Lifting up takes strength, and thus lifting ourselves and others is part of our task.

To bleed off stress and fear, I use strategies like the “five minute a day worry rule” in which a worrier (like me) assigns a specific time in which I am allowed to worry. I can worry for five minutes at 5 pm!

To that end, as we enter what is bound to be (yet another) appalling period in USA history (because, to be clear, many appalling things have happened in USA history), I have dictated into my phone an extensive list of many of the things I can imagine happening in the next two years, ranging from the small insults to the crimes-against-humanity scenarios. After talking non stop for twenty-five minutes, I sent the long rambling and likely incoherent file to myself. I haven’t re-read it. In truth, just doing it gave me a weird sense of peace; I laid out my anxieties, I spoke them aloud. My hope is that this “worry email” will help redirect my anxiety; “oh, I already worried about that.” Let my rambling words bleed my fears and let the universe take them so that there comes less harm, less suffering, more peace, and more justice and mercy, for all creatures on Earth.

To build stamina and determination, I will continue my usual exercise, reading (a lot more reading), watching fave shows, eating ice cream, baking, yoga, massage (as I can afford it), appreciating a beautiful view of the ocean, the trees on my walk, and stars in the sky at night.

As for my work, I am building in leeway in terms of my writing goals. Didn’t manage 2000 words today? Then 1000 is good, all things considered. Couldn’t get to 1000? Okay, how about 500? Really struggling? Then 100 words, bad or good, is a win.

Be kind to yourself. Prep to be kind to yourself. Think about it in advance. Plan for kindness; write it onto your mental slate. Cut yourself—and those around you—the slack you need to keep moving forward.

It is just as important to prioritize care for others, especially at a time when many people may have additional needs and increased stressors. Reach out to family and friends and colleagues, and to strangers, if one can, to see what people need. I will talk more about this below.

Care is a two way street, or perhaps better to say it is a multi-lane intersection. We can be both the helpers and the helped. Sometimes the most positive and strengthening form of self-care is to care for and aid others. Community, cooperation, shared work, altruism: these are all things that literally make people feel more positive about themselves, their communities, and the world.

  1. Connect

As an introvert, I have a bit of a hermit tendency, and that’s okay; solitude helps me recharge. At the same time, for many people (I venture to say most people), connections with others make us healthier. I mean that literally. For example, older people who care for pets, and older people who have more weekly contact with others (rather than live isolated in a small apartment, for example) show better health/age outcomes.

We are band animals. By that I don’t mean that everyone must want to be around people all the time (I don’t want to be!), but insofar as you can, I hope we all have people we want to see, talk to, hang out with (in person or via Zoom), play an online or tabletop RPG with, or go for a hike or golfing with, watch a tv show, sit on the porch, laugh over the phone, cook and eat a meal, go shopping together, and so on.

Particularly in a time of crisis, as we are in now, isolation kills. We need each other.

I will find ways to connect. I will remind myself that it is good for me to go to dinner with friends instead of “writing two more pages” on some random project. I will use social media like Bluesky to connect with people, build networks of support and encouragement, which we are going to need. I can also connect with organizations doing crucial work to support human rights, civil rights, and environmental rights, as I find organizations that fit with what I have to offer.

During the pandemic I ran several seasons of a Zoom “writer discussion” series under the auspices of SFWA called Narrative Worlds. Narrative Worlds ran for four seasons with great guest writers, and I loved doing it (shoutout to SFWA tech support Nathan Lucas and C J Lavigne), and I’m glad I did it, which is why I am mentioning it here. Degraded search engines aside, libraries and online resources hold a wealth of fascinating information that many people can now access and share. We can share with each other.

There’s no telling how even the smallest or larger point of connection will make a difference for someone else or for you. We can’t predict the ripples from any tossed stone, however trivial it may seem to the onlooker. If I can’t affect the big picture, I can make a difference on the ground, right here and right now, and these actions matter deeply to human well-being.

  1. Construct

It is easy to wreck something. An angry toddler can with one impulsive swipe knock over a painstakingly built castle made of blocks. We are going to see a lot of wrecking behavior in the coming months, destructive actions driven by grievance, bigotry, the confluence of weakness and cowardice driving (mostly) men to hurt others because it makes them feel big to do so.

Our job is to build. Often it will be repair work, and that sucks, because some sick man-baby has broken something that was working well. But we must still make those repairs, however hasty or crude or makeshift they may be. And just maybe it can be better, as and when we can manage it to be so. It might be tomorrow. It might be next decade. Times change. The future is not determined.

So many people are doing innovative work, unheralded, sticking with it year after year. For example, I subscribe to the Climate Action newsletter which highlights work that people around the world are doing with optimism and resolve.

I have work to do, too. That’s why it matters that I focus my energy away from impotent outrage and despair and into my own work, which happens to be writing: novels, short fiction, non fiction essays (like this one), craft essays, a few workshops and interviews/podcasts, and so on.

Each time a person is lifted up, or given solace or a moment of peace or joy, from a work of art—or from any kind of work, even from a simple “thank you” that acknowledges their existence or something they have done—this moment and that “thank you” expand the network of connection and construction that is the human way forward, and the only way forward that’s ever been. We are the network that supports each other. We build for our present and for our future. Keep building.

  1. Challenge

First, accept humility. Not only do I not know everything, I don’t really know that much, and so I must always seek to learn and to listen. This is true of living life in general, and how much more true when faced with a time of crisis and cruelty. Now is an excellent time to listen and learn from those people, both past and present, who faced (and are facing) crisis and cruelty and have something to say about how we can live and what we can do during such times.

I will speak up and push back in ways that I believe will be meaningful. This might be as simple as saying “I don’t agree with [statement] because [answer]” during a conversation. It might mean refusing to comply with a bullying demand that is unjust and which depends on your being cowed but which has no other force behind it. It might be writing a letter to your congressperson or volunteering for Vote Riders or taking an online class in Bystander Intervention or any other organization that needs volunteers like Meals on Wheels or whatever local or nationwide work you are interested in. It might mean donating to an organization that is doing critical legal work for a vulnerable population or effective support/infrastructure work like a food kitchen.

Some may choose to pick one issue to dig down into as their point of specialty for activism (obviously many organizations already do this). Others will devise different strategies, appropriate to their inclinations, and these strategies may change over time for every individual. The thing you are doing might be something you can’t talk about online.

I will challenge myself. Comfort is a coping and caring device, yes, but there are times when I need to move into discomfort, to look with open eyes upon humanity’s inhumanity toward the most vulnerable and marginalized. To push myself to try things I’m not sure I can do. To ask questions, or receive answers, that aren’t easy or palatable. To seek to understand how people time and again have suffered, died, survived, and pushed back against authoritarianism and coercion. To live with this as also being part of the human condition, but never to normalize it or make excuses for it, always to be certain in my mind of the truth that such actions are wrong and that I should always defy them however I can, even if any one act of defiance may be as small as the flutter of wings or as large as a massive global strike.

It is also vital to remember that sometimes (too often) people push back simply by surviving and refusing to give up.

Don’t give up. You matter. I matter. We matter. Things do get worse, and all too often they get much worse. Yet never forget that people have come back from much worse (although never all of them; far too many get lost along the way).

Never forget that everywhere in the world there are people working at the local or regional level to create more equitable systems, healthier outcomes, ecologically sound changes in how humans approach our Earth, some peace and more joy.

This is the challenge we wake up to every single day, whether in the smallest personal sense or the largest global sense: A better world is possible.

Glasgow Worldcon 2024: Schedule and Information

I will be at Glasgow Worldcon and am happy to say hello and sign books any time!

Scheduled appearances:

Thursday, August 8:

Epic Appeal (panel), 4:00 PM (GMT+1), Forth (Armadillo Bldg).
(panel description below

Friday, August 9:

I’ll be joining the Glasgow Pop-Up Social
2:30 – 3:30 pm (Friday)(maybe Saturday too) in Hall 4, open seating area
Note: The Pop-Up Social runs Thursday, Friday, Saturday from 2 – 4 pm Hall 4, open seating area. Lots of different authors! Chat, hang, get books signed

Saturday, August 10: (two signings!):

“Official” Autographing: 10:00 AM (GMT+1), Hall 4 (Autographs)
I will have bookplates and bookmarks, so come and get something signed with or without books.

Signing: Dealers’ Room Tachyon Pub Table: 3:00 PM, with Ellen Datlow and Carrie Vaughn.

Sunday, August 11:

Table Talk: 4:00 PM (GMT+1), Hall 4 (Table Talks)
(you have to sign up for this, as there is limited seating! Please sign up! Also, I have had wait-listed people get in on the day, because of no-shows or cancellations and in one case because I told them to join us anyway because I was in Australia and when else would they be able to see me?)

Read this! ==>

I am excited to announce I will have with me six print ARCs of THE HISTORY OF THE WORLD BEGINS IN ICE: Stories and Essays from the World of Cold Magic.
I’ll be giving one away at the Table Talk. Reviewers who would like an early copy, please track me down, and ask. I hope these ARCs can go to good homes that can help spread the word, given this is a small press collection. Thanks!

I will also have two print (test, not final) copies of the chapbook short story (Cold Fire chapter 31.5 “bonus chapter”), THE BED HE HAD BUILT FOR HER, with a lovely cover illustration by Allaine B Leoncio and an interior illustration by Jody Lee. At the moment, the chapbook is available only with a pre-order of the Deluxe hardcover special edition of the collection, so if you would love an early copy, be the first to come up to me at a convenient moment at Worldcon and ask (my strong preference is that both of these go to Cold Magic fans, not to collectors).

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Epic Appeal, panel description and info (this panel should be fun!):

Epic fantasy stories usually encompass multiple volumes and thousands upon thousands of pages. What is the appeal of the epic novel? Is it the multi-act storylines, the interwoven structure, the intricate details, the big cast of characters? Or the fact that you can use them as a weapon? Or all of the above? Come along to find out just what makes an epic novel deeply satisfying for readers and writers alike.(panel with Andrea Stewart,

Participants: Marve Michael Anson (m), Andrea Stewart, Kate Elliott, M H Ayinde, Tao Wong

I attend conventions for two reasons: to meet my readers, and to hang out with my friends. I hope to see you there!

THE HISTORY OF THE WORLD BEGINS IN ICE: Preorders are LIVE

Preorders for THE HISTORY OF THE WORLD BEGINS IN ICE: Stories and Essays from the World of Cold Magic are now available. Publication date: October 2024. Exactly what it says in the title: a collection of eleven standalone short stories and eleven essays, plus illustrations, all the stories set in the Cold Magic universe.

Feast your eyes on the Tom Canty cover:

A young woman wearing an unbuttoned style military jacket holds a sword, facing the viewer with a determined gaze. Book title is THE HISTORY OF THE WORLD BEGINS IN ICE. Author is Kate Elliott. Quote from N.K. Jemisin reads, “Hits every ‘craving something fresh’ button you’ve got.”


Two print editions are available for preorder: the Deluxe hardcover limited edition ($50) and the regular trade paperback edition ($20). For the time being, the Deluxe limited edition hardcover will only be available for preorder on the Fairwood Press website.

• The limited edition is VERY limited; there will only be 200 hardcover copies
• I have numbered and signed them all on a lovely signature page
• The Deluxe edition includes a color fold-out of Julie Dillon’s “dragon rising from the sea of smoke”
• AND a special secret chapbook (with a lovely cover and a sweet interior illustration) comes with every limited edition order

For more information on the Deluxe edition, or to place a preorder, click through to the order page.


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I conceived of this project in 2018 with the idea that I could publish a Spiritwalker-themed short fiction collection in Fall 2020 to coincide with the 10th anniversary of the initial publication of COLD MAGIC. From the beginning, I wanted to add more illustrations, in large part because I so love the illustrations Julie Dillon drew for a very limited edition 2013 chapbook, The Secret Journal of Beatrice Hassi Barahal (included in the new collection!).

When R.B. Lemberg published GEOMETRIES OF BELONGING: Stories and Poems from the Birdverse with Fairwood Press, I realized that maybe I had found the press who would be interested. I asked Patrick Swenson, the publisher, if he would consider publishing another “universe” themed collection—and he was enthusiastic!

Patrick has been absolutely great to work with. I’m in awe of his multi-tasking skills. He’s the reason the collection has a great Tom Canty cover which I am completely bowled over by.

I contacted a number of artists who I was hoping to work with for interior illustrations, and almost all of them said Yes! despite overloaded schedules. I can’t praise them enough, all of whom came through with splendid art that enhances the text.

THE HISTORY OF THE WORLD BEGINS IN ICE has been a labor of love from start to finish, my tribute to the readers who have loved the COLD MAGIC and the Spiritwalker Trilogy, to the beauty and power of art when it works in concert with text, and to myself and my stubborn commitment to writing the strange stories that keep bubbling up in my mind. My natural narrative length is probably the trilogy, and yet I wrote the short fiction contained herein (as well as the essays) with just as much love and concern for craft and outcome as my longest and most detailed epic tome.

Two of the stories are original to the collection, while the others have appeared in one venue or another, although not all officially published (a few were posted online). You don’t have to have read the Spiritwalker Trilogy to follow the stories; many were written for venues where I had to assume readers wouldn’t have read COLD MAGIC and sequels.

I can’t get over how gorgeous the Tom Canty cover is, and I can’t wait for you all to see the illustrations inside, too

A quick note about preorders: Fairwood Press is a small press run by a single person (Patrick) who takes a chance on every book he publishes. Preorders go directly to pay for expenses ahead of publication, so they are a huge help similar to how Kickstarter pledges are a big help. Preorders are also a way to support small presses, who are often the only places willing to take a chance on a niche project like this one.

The site is now ALSO kateelliott.com (welcome!)

The kateelliott.com URL now redirects to this site (I Make Up Worlds).*

I have not yet transferred any information over to this site yet from the kateelliott.com archive, but some of that should happen toward the end of this year.

Meanwhile, if this is your first time here, this was once an active blog and is now more of an inactive blog. This site currently features a bare-bones bibliography, links to my newsletter and patreon (where I post weekly), and numerous EXTRAS (see menu item), as well as the all important “Where Do I Start With Your Novels (boy band style)” pinned post.

If there is any information you would specifically like to see included or added here, or any questions answered in the blog, please let me know in the comments to this post (or just say hi!), and I’ll see what I can do.

For the most up to date news and specifically for time-dependent news about things like ebook sales or online or in person appearances, subscribe to my newsletter. It’s currently on Buttondown, free (no paid content).

Thank you. As always, I could not do this without you.

2023 Update: The Keeper’s Six, Servant Mage, and Furious Heaven

Contemporary fantasy The Keeper’s Six drops on January 17, 2023. This very short standalone novel opens in Hawaii and quickly moves into a complex multiverse when Esther discovers her adult son has been kidnapped by a dragon boss and she calls in her old gang to help her get him back. Cover by Emmanuel Shui.

In a starred review, Publishers Weekly says, “Treacherous terrain and even more treacherous trading partners ramp up the stakes of this masterful contemporary fantasy from Elliott.”


Last January, 2022, a secondary world standalone fantasy novella Servant Mage was published. Fellian is an indentured servant after the revolution. When a small party of rebels offers her freedom in exchange for helping them, she must decide if the cost is worth it and who she trusts. Cover by Tommy Arnold.

“An absolute gem of a story… I loved it.” —S. A. Chakraborty

A large dragon possessively clutches a fiery glowing orb.

Furious Heaven, the sequel to Unconquerable Sun, finally arrives in March (UK) and April (USA). USA cover by Chris McGrath. UK cover by Ronnie Tegnemaskin.

Very excited for all of you to read this unstoppable dreadnought of a novel, which in a starred review Library Journal calls “Expansive space opera at its finest.”

USA (Tor Books) cover:

Cover of Furious Heaven: Two women, side by side against a backdrop of space, stare commandingly at the viewer.

UK/Commonwealth (Head of Zeus) cover:

A spaceship in the midst of battle, flying toward a large stellar object

This year I hope to update my web page and this blog, but for now I wanted to get all my recent and forthcoming releases in a row.

Kurosawa Watch: The Most Beautiful (1944)

Kurosawa Watch: The Most Beautiful (1944)

Akira Kurosawa’s second film 一番美しく Ichiban utsukushiku is generally translated into English as The Most Beautiful.

The film is an example of home front war propaganda. It tells the story of a group of women factory workers, although I believe they are mostly meant to be adolescents since they are occasionally referred to as children and they are indeed very young. They work at an optics factory making lenses for the military.

The film opens as the factory director, played by Takashi Shimura (who also appeared in Kurosawa’s first film), speaks to the factory workers over a public address system to tell them that their production targets are being increased by 100% for the men and 50% for the women.

As the camera slowly moves along the floor where the women are working we see women breaking from their work to talk to each other. I felt Kurosawa playing with the expectation that women are gossips and talkers, unable to buckle down and resentful that they are being asked to do more work, because I expected what came next: The women are in fact angry; they’re angry they are only being asked to increase their production by 50%. The head worker of their unit, played by Yoko Yaguchi, goes to the factory managers and tells them (with a great deal of apology and humility) that the women want to aim for a higher increase. Of course, she says, they can’t manage a 100% increase like the men but they want to try for a 2/3rds increase.

The rest of the film follows these mostly very young women as they struggle through illness, accident, exhaustion, personal conflicts, and family tragedy to keep the production goals.

While this is very much a film driven by propaganda constraints, it offers an unexpected glimpse into the lives of women of that era. I don’t know how much is propaganda and how much is taken from Kurosawa’s actual observations at a factory during the war (I did not research his working methods for the film). It is a given that the film must portray the young women as wanting to serve the cause nobly and with their greatest efforts.

At first they meet their targets. Then obstacles arise. One young woman gets ill and begs the dorm mother (played in a lovely, warm performance by Takako Irie) not to tell her parents because they will come and take her home, which indeed her father (a farmer) does, leaving their group one short. Another woman falls from the roof while laying out bedding to air dry; she returns to the factory with a cast on her foot as soon as she can. Stress from the pace of work brings quarrels eventually solved with everyone blaming themselves and asking for forgiveness.

One of my favorite elements of the story is that the group is also trained as a fife and drum corps. They play for parades and festival days. They march to and from the factory each day (leaving and returning to their dormitory) either singing or marching. Early in the film they sing a song about the Mongol invasion of Japan which famously ended in total defeat and disaster for the Mongol fleet.

As always, Kurosawa’s framing of scenes is matchless. People and structures are always arranged in pleasing configurations with camera angles to match. It’s fascinating to me to see how good he was at this from the get go, although he had been working in the industry for some time before he started directing so presumably he had developed the basics of an artistic philosophy before his first film.

The Most Beautiful is a complete film with a full narrative architecture (even within the propaganda limits) so it isn’t quite fair to compare it to Sanshiro Sugata, which lacks some 17 minutes of film and is choppier in terms of plot. But with the second film I already feel I am in the hands of a director who knows exactly he wants and can bring it to life on the screen.

A final aside: This film focuses mostly on women (the male characters are all in support roles), and it is mostly women’s faces and women’s interactions with each other that we see. I loved this aspect of the film especially because I already I know most of Kurosawa’s films focus on men, even those that include one or two important female characters.

Takako Irie, who plays the dorm mother, was a big star in Japan who had her own production company. She plays a warm and compassionate “mother figure” who deeply cares for her charges. There’s a brief and affecting moment where we realize she is a widow and that her husband has died fighting in the war, and it’s interesting how this is lightly touched on because it doesn’t need to be hammered in. Everyone watching this was affected by the ongoing war in a way those of us watching it from this distance can’t measure.

The other main female character is Tsuru Watanabe, the leader of the women workers, played by Yoko Yaguchi with marvelous clarity and determination. She married Kurosawa after this film. I know nothing about her except what I read on Wikipedia which includes this fascinating tidbit: states that “while working on [The Most Beautiful] Yaguchi clashed over the alleged ways the director treated the actors.” She seems to have retired from acting after marriage.

What a lovely and interesting film which would be even more interesting for those who have a better grasp of the specific context in which it was made. Recommended!

Next up: Sanshiro Sugata, Part Two (1945). Yes, indeed, Hollywood did not invent the sequel all by itself.

Kurosawa Watch: Sanshiro Sugata (1943)

SANSHIRO SUGATA is Akira Kurosawa’s debut film as director, first shown in 1943. He also wrote the screenplay based on a novel by Tsuneo Tomita.


The story is set in the late 1800s and follows a young man (Sanshiro Sugata, played by Susumu Fujita) seeking to find a martial arts teacher. He arrives in town to study jujitsu, but after witnessing an altercation between a jiujitsu master and his students and a single judo master, Yano, he asks to study with Yano.

The primary conflict in the film is Sugata against his own lack of self control and his reliance on strength rather than training. He has to learn to control himself in order to master martial arts and become Yano’s leading student. After Yano’s expels him for fighting in the street, Sugata plunges himself into a cold lake overnight, and in the morning the sun’s light falls upon a blooming lotus flower as a symbol of his ability to master himself.

There are two intertwined secondary conflicts. The town’s police department wants to hire one of the local martial arts schools to train its officers. Matches are set up to determine which school is best. In one match Sugata so overpoweringly throws his opponent (the unsympathetic jujitsu master seen in the opening sequence) that the fall kills the other man.

The final match will pit Sugata against the respected master Murai. This match gains additional tension when Sugata meets Murai’s daughter Sayo because one of her geta (wooden shoes) breaks on a steep stairway leading up to the temple where she prays regularly. A series of short scenes makes it clear the two are attracted to each other (although never that crudely stated) even if Sugata doesn’t quite know how to understand or express such a feeling. By the way, Sayo is a lovely character. Yukiko Todoroki is wonderful in the role. Her charisma lights the screen in what is a fairly small role in terms of screen time. She got her start in show business in the Takarazuka Revue.

As the match between Sugata and Murai begins, the viewer knows how strong Sugata is, and doesn’t want him to harm Murai. At the same time, Sugata has to win in order to gain the police training contract for his master. In the end Murai is thrown three times before he concedes, and afterward Sugata goes to his home to make sure he is recovering.

As this secondary plot line unfolds a mysterious man arrives to challenge Yano’s students, specifically Sugata. This man, Higaki, is also clearly interested in Sayo Murai. After Sugata’s victory, Higaki makes a final demand for a match to the death.


This match plays out in a wind-torn field of tall grass in a striking and dramatic manner that to my mind absolutely presages the rest of Kurosawa’s career and how he uses nature as a way of understanding human emotion and conflict and the human presence in the natural world. It’s a phenomenal scene, filled with energy and foreboding.


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What we can now watch is not the entire film Kurosawa made. Wartime censors cut out 17 minutes, which have never been recovered although the full script is extant. I don’t know what precisely was removed but there were certainly some leaps between scenes where it felt as if interactions were missing, perhaps particularly with Sayo’s plot line. Someone who has read the script would have a better idea.


Some of the lighting feels murky but, again, I don’t know enough about film history to know if this reflects the techniques of the time or the physical aging process of film itself.


Besides the amazing final duel in the windswept field, two other things struck me about this film.


One of the things I love about Kurosawa is how he composes people within the frame of the screen. This is already apparent in this film. People are never haphazardly placed. Empty space isn’t just there, or filled with random background sets. The camera might dwell for 3 seconds on four men on the screen, three seated and one standing, and how they are arranged is art. Seeing this aspect of his work so clearly in his first film was kind of amazing to me.


Kurosawa is might well be best known in the West for his long collaboration with actor Toshiro Mifune. But I could not help but notice that while Mifune is not in this film (and could not have been since he was, I believe in the Japanese army stationed in Manchuria during the war), another longtime Kurosawa actor is: Takashi Shimura. So I checked, and indeed Shimura appeared in 21 of Kurosawa’s 30 films, which makes him the actor Kurosawa worked with most. I was delighted to see him here. He had a long and distinguished career in film from 1934 to 1981. His Wikipedia entry says that during the war he was arrested and held for three weeks due to his prior involvement with left-wing theater groups.


Next up: THE MOST BEAUTIFUL (1944).


Again, I’m using The Criterion Channel to view these early films (subscription required). I’ll write up a post in about two weeks (circa January 24).

Kurosawa Watch Project 2021: a viewalong

Purely for myself I have decided to attempt a chronological watch of Akira Kurosawa’s films.

Over the years I have seen more films by Kurosawa than by any other single director. Seven Samurai is probably the film I have watched the most times of any film (not counting films my children watched over and over again when they were little).

Kurosawa’s ability to compose within the frame and his adeptness at action sequences are two of the many things I love about his work. The rise of streaming access strikes me as a great opportunity to view an artist’s work as it unfolds across decades.

Please join me at any time during the year. My goal is to average 2 Kurosawa films a month. I’ll be posting a non academic commentary on each film as I see it, and I’d love to appreciate and discuss the films with others who have seen them too.

To begin with I will be using the Criterion Channel. Currently it seems to offer all but four of his 30 films. That availability may change, but for the moment it has all the early films which I feel might be hardest to find in other venues.

The first film is Sanshiro Sugata (1943). It’s 80 minutes long and I’ve already watched it. I’ll post my comments next Sunday January 10 on this blog.

Spiritwalker Universe fiction


I will always be grateful to the enthusiastic and devoted readers who have championed my Afro-Celtic post-Roman icepunk regency adventure alternate-history fantasy, with magic both cold and fire, revolution, Phoenician spies, well-dressed men and hungry women, female friendship, a spirit world dangerously intertwined with the mortal world, sword fights and battles and ball games, world trees, the talking heads of decapitated poets, legal niceties, and therefore of course lawyer dinosaurs. Where would we be without lawyer dinosaurs, I ask you?

A fiery red and gold dragon rises from a smoky ocean while two young women who are carrying a chest between them stare up at its fearsome majesty. Illustration by Julie Dillon.

The Spiritwalker Trilogy:

COLD MAGIC

COLD FIRE

COLD STEEL


Short Fiction

Bloom is a novelette set in the Spiritwalker universe about eight years before COLD MAGIC. While a few familiar characters appear, it is actually about an entirely different character’s journey through grief. A quiet story that I really love, it is available in THE BOOK OF MAGIC, edited by Gardner Dozois.

A Compendium of Architecture and the Science of Building is a short story set about a year after Bloom and takes place at Four Moons House. The elderly uncle of the mansa who has come home to retire after many years working abroad as architect, but things don’t work out quite as he expects. It appears (free!) in Lightspeed Magazine (includes an audio version).

The Beatriceid is Bee’s retelling in verse of the story of Dido and Aeneas, obviously the more correct version. Set during Cat and Bee’s school days at the Academy, the events take place before COLD MAGIC and as such can be read at any moment, especially if you enjoy the AENEID or like to take the piss out of the Romans, as I do. My apologies because at the moment there is no version of it online. It was originally published by Book Smugglers Publishing. As soon as there is an online version I’ll link here.

To Be A Man (A Roderic Barr Adventure) takes place at the same time as the final chapter of COLD MAGIC. This story has no redeeming social value whatsoever. You’ve been warned. You can read it on this website for free. An audio version is available for purchase (a mere $0.99) at Serial Box.
A print version appears in the collection THE VERY BEST OF KATE ELLIOTT (Tachyon Publications).

Cold Fire Bonus Chapter 31.5 (to be read after chapter 31 of Cold Fire, natch). XXX rated. No, really. I wrote it because N.K. Jemisin made me. If you, dear Reader, do not care for smut (and no reason anyone should), then it is perfectly fine to skip this chapter; the trilogy works fine without it. If you do like smut, here you go.

The Courtship is a coda novelette, to be read after the end of Cold Steel. It wraps up a couple of loose ends (but not all of them). It is available on this website HERE (contains adult situations and nudity).

The Secret Journal of Beatrice Hassi Barahal (with 28 fabulous black and white illustrations by Hugo Award winning artist Julie Dillon) is available at Gumroad as a pdf for $3.50. Discover Bee’s side of the story, with pictures from her sketchbook!

“I Am A Handsome Man,” Said Apollo Crow takes place after the Spiritwalker Trilogy and features an unusual denizen of the spirit world. It is available in THE BOOK OF SWORDS, edited by Gardner Dozois.

A Lesson To You Young Ones is a very short story featuring Maester Godwik, one of my favorite lawyer dinosaurs, and the lesson he teaches a classroom full of young pupils. It is available on this website.

When I Grow Up might best be described as the coda to the coda. Currently available on the mighty Book Smugglers site.

In addition, I have four partially written but as yet unfinished Spiritwalker stories I hope to complete, after which I would like to put together an illustrated Spiritwalker short fiction edition. In truth, I had hoped to create and complete that project for the 10th Anniversary of the publication of COLD MAGIC but life intervened and I didn’t have the energy, so a Spiritwalker collection remains a future goal.


UNCONQUERABLE SUN: Discussion Zone

If you’ve read UNCONQUERABLE SUN and want to discuss any or all aspects of the story and universe, ask questions, or make easter egg guesses, this is the blog place to do so. SPOILERS ALLOWED. SPOILERS BEWARE.

There is also a Discord server for those who prefer that, which you can find at this link.

I’m using both venues because some people don’t use Discord at all or prefer comments on a blog.

To answer one question right up front: I’m working on book two, although with some pandemic delays. The hope and plan is for a Fall 2021 publication date.

cover of Unconquerable Sun