"It's not fair," I told Lisa L. Hannett over Twitter. When we talk about an author's style, it's usually a quality that's refined and polished over years. Hannett is one of those rare writers who can write using a variety of voices — and does so wonderfully. It's not simply having an ear for dialog, but possessing the ability to translate what's spoken into the written word and using it to convey to readers the mindset, upbringing, and culture of her characters. Every story in Bluegrass Symphony, for example, has a unique, unmistakable narrator. It's not simply knowing the difference between first-, second-, and third-person narratives, but knowing when to use it and understand the nuances of each perspective. Some writers, for example, avoid second-person because it's difficult to immerse the reader, but when Hannett does utilize it, it's a seamless experience. It's also not simply about sticking to one central theme as Hannett writes using different premises: fortune-telling hens, soul-smoking mayors, minotaur-infested dystopias, or even immortality-rewarding beauty pageants. But despite these seemingly disparate concepts, there's also this sense that this is uniquely a Hannett piece, as the reader will always find some form of tragedy and darkness lurking underneath every story.
That's the impression one gets after reading Bluegrass Symphony, and it's a clever title for a short story collection. There's no story titled "Bluegrass Symphony," and the author provides an explanation at the end of the book, but just from hearing those two words, it already conveys a certain expectation — and the reader wouldn't be wrong. If this were the Philippines, I'd label Hannett's stories as provincial, but for non-Filipinos, the country, would be a better description. Hannett certainly captures that kind of atmosphere, even when she's writing all these diverse stories — and as an aside, another unfair fact is that eleven of the twelve of the stories in this collection are original to the book. They are all very good stories, immediately winning you over with tone and character, but they're also challenging that if you skip a beat, you'll miss out on important details. There's insight at the end of each story, but it's not necessarily one that readers will always welcome: Hannett's fiction seldom ends pleasantly, or if it does, it comes at a steep price. "From the Teeth of Strange Children," for example, explores various types of relationships (some predatory, some otherwise), in addition to contributing something new to the vampire mythology. The exploration of these relationships is what makes the story shine, and it's these mixture of emotions that give it resonance. I'm still on the fence when it comes to the the effectiveness of the ending in "The Short Go: A Future In Eight Seconds," but it's a memorable dystopia, one that Hannett writes convincingly through her effective characterization. "Down the Hollow" is transgressive and haunting, yet is brief enough and contains all the elements that makes Hannett's stories wonderful and unique.
Bluegrass Symphony is one of those collections that feels more like an anthology due to the author's wide range. This is easily a must-read book of 2011, doubly so since most of the stories aren't reprints.
Friday, January 13, 2012
Thursday, January 12, 2012
January 12, 2012 Links and Plugs
Interviews and Profiles
News
- The Shell Case interviews Dan Abnett.
- UrbnFutr (Alexander Phillips) interviews Melissa Sterry.
- Joel Sheperd on Death of the Female Movie Star?
- Travel Supermarket on 12 More Sci-Fi Film Locations You Can Actually Visit.
- Book View Cafe (Maya Kaathryn Bohnhoff) on Forging Stories: Exploring the Metaphor.
- Rachelle Gardner on When Agents Pitch to Editors.
- Juliette Wade on Boy meets girl - how?
- Brooke Bolander on Clarion and You.
- io9 (Meredeith Woerner) on The Best Science Fiction Films at This Year’s Sundance.
- Jim C. Hines on Striking a Pose (Women and Fantasy Covers).
- Inkpunks (Myke Cole) on Writing Groups.
- Tor.com (Ryan Britt) on Genre in the Mainstream: 5 Literary/SF “Crossover” Books to Watch For in 2012.
News
- KGB with James Patrick Kelly & Kelly Link, January 18th.
- Other Worlds Than These anthology submissions.
- WSFA Small Press Award Nominations.
- World Fantasy Judges Announced.
- Call for Submissions for The Best horror of the Year volume 5 (2012).
Book Review: Zoo City by Lauren Beukes
There are novels that defy categorization: they don't fit into common marketing conventions, or at the very least, aren't limited to the stereotypes associated with their genre. The prose of Zoo City wasn't immediately striking — its appeal to me was due to an entirely different reason — but there's skill in it being plain. And perhaps that's the paradox here. There's so much going on in Zoo City: it's science fiction, it's fantasy, it's crime... but the narrative is focused, down-to-earth, and ultimately, the conceit doesn't get in the way of telling an actual story. Lauren Beukes writes a complete, solid novel, and while some writers mask their weaknesses with style, Beukes allows her text stand on its own, guiltless in front of a jury.
What is memorable, however, is how there's this continuous interaction with the reader even once you've put the book down. I've spent the past few days pondering on the possibilities of Zoo City fan fiction, and it's not everyday that such a story inspires me so. Nonwriters might simply dismiss this as the concept, the same way that they might approach an author and offer to sell them an "idea" they had. But that's not truly the case, as it's Beukes's execution (in this case, conscious restraint) that makes the novel work. I've heard comparisons to Philip Pullman's Golden Compass but I think those conclusions are unfair because the animal companions — for lack of a better term — behave differently in each novel (the social implications alone are different). There is also the way that Beukes hints, insinuates, and implies a larger backstory, but never tips her hand. In that sense, Zoo City feels like a realist novel, as the reader remains ignorant of the underlying cosmology of the world by the time they reach the end. Instead, the anchor to the narrative is the central protagonist, and her ending isn't a convenient resolution.
In terms of technique, Beukes utilizes elements of the epistolary novel to great effect. They feel authentic and modern; whether they'll date themselves in the future is best left to speculation, but as far as the present is concerned, it's well done. Nor do I feel, at any point, that they are extraneous. The inclusion is justified and again, Beukes doesn't jump at every opportunity to insert news clipping, emails, or letters. There's a compelling reason for their place in the story, and the author includes just enough to whet your appetite without breaking the momentum.
Perhaps a key element in describing Beukes's style in Zoo City is restraint. The author never feels insecure about their technique or the reader's intelligence. What you end up with is this polished novel that's clear, concise, and imaginative, without drawing too much attention to its uniqueness. That might be a detraction for some narratives but in the case of Zoo City, it works.
What is memorable, however, is how there's this continuous interaction with the reader even once you've put the book down. I've spent the past few days pondering on the possibilities of Zoo City fan fiction, and it's not everyday that such a story inspires me so. Nonwriters might simply dismiss this as the concept, the same way that they might approach an author and offer to sell them an "idea" they had. But that's not truly the case, as it's Beukes's execution (in this case, conscious restraint) that makes the novel work. I've heard comparisons to Philip Pullman's Golden Compass but I think those conclusions are unfair because the animal companions — for lack of a better term — behave differently in each novel (the social implications alone are different). There is also the way that Beukes hints, insinuates, and implies a larger backstory, but never tips her hand. In that sense, Zoo City feels like a realist novel, as the reader remains ignorant of the underlying cosmology of the world by the time they reach the end. Instead, the anchor to the narrative is the central protagonist, and her ending isn't a convenient resolution.
In terms of technique, Beukes utilizes elements of the epistolary novel to great effect. They feel authentic and modern; whether they'll date themselves in the future is best left to speculation, but as far as the present is concerned, it's well done. Nor do I feel, at any point, that they are extraneous. The inclusion is justified and again, Beukes doesn't jump at every opportunity to insert news clipping, emails, or letters. There's a compelling reason for their place in the story, and the author includes just enough to whet your appetite without breaking the momentum.
Perhaps a key element in describing Beukes's style in Zoo City is restraint. The author never feels insecure about their technique or the reader's intelligence. What you end up with is this polished novel that's clear, concise, and imaginative, without drawing too much attention to its uniqueness. That might be a detraction for some narratives but in the case of Zoo City, it works.
Wednesday, January 11, 2012
January 11, 2012 Links and Plugs
Interviews and Profiles
Advice/Articles
News
The Liminal People by Ayize Jama-Everett
- Spellmaking interviews Cate Gardner.
- Lightspeed (Andrew Liptak) interviews Paul McAuley.
- Marjorie M. Liu interviews Joseph Mallozzi.
- Geek's Guide to the Galaxy Podcast interviews Brian Selznick and Ian McDonald.
- John Scalzi's The Big Idea: Marissa Meyer.
- ABC Book Show interviews Glen Duncan (podcast).
- Suvudu (Eric Geller) interviews James Luceno.
Advice/Articles
- Book View Cafe (Deborah J. Ross) On Reviewing Books: A Gift For Your Favorite Author.
- Rachelle Gardner on Dealing With Deadlines.
- Mary Victoria (Angela Slatter) on Place as person: Location, Location, Location!
- Fantasy Matters (Kat Howard) on The Decision to be Fantastic.
- Chuck Wendig on 25 Things Writers Should Know About Finding Their Voice.
- Kat Howard on No really. Tell me what's wrong with my story.
- Shelf Awareness (Rod Rees) on Pity the Poor SF Writer.
- The King of Elfland's Second Cousin on Moving Across Mediums: Assessing the Adaptations of Hugo and Tinker Tailor Soldier Spy.
News
- 2011 Philip K. Dick Award Nominees.
- Wolfe Wins Fuller Award.
- Spectrum Fantasy Art Nomination Deadline Approaching + A New Art Director Award Announced!
The Liminal People by Ayize Jama-Everett
Book Review: Queen of Kings by Maria Dahvana Headley
Some novels take time to develop: it can be front-loaded exposition or a scenic tour of the book's setting. What's striking about Queen of Kings is Maria Dahvana Headley eschews that method and delivers a story that dives immediately into the action and never gives the reader time to catch their breath. It's one exciting scene after another, making this a quick read that can't be put down.
It's a common misconception that the appeal of a story is its concept — in this case, the secret history of a shapeshifting, blood-drinking Cleopatra. While that's a reasonable elevator pitch, what makes the novel work is Headley's conscious decisions with technique. First, the chapters are quick and short, and while the descriptions can get sparse, it follows the narrative's agenda of getting to the exciting bits as soon as possible. Second, the author has an awareness of her genre's strengths and weaknesses. The introduction of certain characters like the senate or Virgil might appear abrupt, but since this is historical fantasy, the reader is equipped with knowledge of these personalities so their presence feels natural — if not outright warranted by the reader. On the other hand, characters that are new to the story are given their proper introduction, but just enough so that it doesn't bog down the narrative. By most accounts, Headley exercises brevity, and it's a practice that's in the service of the story.
The third element that makes Queen of Kings such an enticing read is the way the author tackles conflict. In many traditional narratives, high fantasy included, there is the sense that the reader knows how it's all going to end. One reason for this is that conflict — and war — tends to be polarized: you have the protagonist's side and the opposing side, usually good vs. evil. That's not the case in Queen of Kings as there are numerous agendas in play at any given time so it's not even a two-front war but sheer chaos. It even comes to a point where the reader isn't sure whether they should be rooting for a particular character or not. What's impressive with Headley is that while some authors might hold back, whether in creating too many factions or simply the lengths the various characters will go to, here it all seems like an organic progression that keeps the reader guessing. Is it contrived? Of course, it is, and Headley even scores bonus points when it comes to aligning the narrative with known history, but what's satisfactory is that it never seems manufactured. Contributing to this is the continuous sense of confusion among the characters, especially early in the novel, where their perception is different from what's objectively taking place. We've seen it utilized to great effect in epic fantasies like The Wheel of Time or A Song of Ice and Fire, but all Headley needs is a few pages and two chapters to illustrate contrasting views of the same incident. There are other techniques which Headley uses such as juxtaposition, but for the most part, it's the author's ability to weave the illusion of chaos that sets the book apart.
In Queen of Kings, the reader never knows what's going to happen next as alliances are made left and right, along with betrayals and double-crosses that go hand in hand with them. The presence of history and mythology is also a resource the author mines, which makes its inclusion a rational and seeded solution. Maria Dahvana Headley writes a focused, compelling narrative that excels in what it's supposed to do, and is a great example of synergy with authorial intent.
Tuesday, January 10, 2012
Book Review: Engines of Desire: Tales of Love & Other Horrors by Livia Llewellyn
I want to begin this review with a digression: what makes a great James Bond actor? Arguably, the best in the film's franchise, whether it's Sean Connery or Daniel Craig (sorry Pierce Brosnan), is due to their unpredictability. Despite their charm, there's always this sense that they can murder you without a moment's hesitation. This element isn't limited to what's written on the script but extends to the charisma, personality, and believability of the actor. I bring this up because one recurring motif in Livia Llewellyn's stories is the way she writes her characters: they are compelling protagonists, but the reader is never quite sure whether they should ally — I use the term because they automatically win the reader's sympathy — with them or fear them. In most cases, it's both, and it's amazing how Llewellyn conveys this through prose — without the aid of actors.
As a collection, Engines of Desire is aptly titled. There's a certain roughness when it comes to the word "engine" but it's also workman-like and efficient. Llewellyn's prose isn't perfect as there's bits here and there that could be polished, but overall, it gets the job done. The inclusion of desire, on the other hand, is what separates the author from her peers, as it is a common element in most of Llewellyn's stories. If the topic was Lovecraft's bane, the author incorporates it into her narrative and channels it into something primal that triggers our collective lizard-brain. It's sensual, yes, but just like her protagonists, one must always question whether surrendering to it is safe. The image that springs to mind when describing this collection is that of an Ouroboros: the narrative is engaging, but it also fuel for what comes next, thus creating this cycle of satisfaction and hunger.
There are ten stories in this book and the only time the author falters for me is "Brimstone Orange" mainly due to its length. One would argue that the other flash fiction piece in the collection, "Teslated Salishan Evergreen," should suffer such a fate, but its parameters are well-defined (a faux encyclopedic entry on a fictional plant) and the concept is executed perfectly. When it comes to must-reads, it's a tie between "At the Edge of Ellensburg" and "Jetsam". Both contain elements of what makes Llewellyn terrific and unique: forbidden passion, characters that are double-edged, and a darkness that simultaneously destroys and saves. Thematically, the two stories are different from each other, but both bear the distinction of a Llewellyn story without the heavy-handedness of Lovecraft pastiches. "Her Deepness," a lengthy, fantastical (steampunkish?) piece, is similarly engaging, although it lacks a certain level of eroticism that marks her other stories. Still, it's a memorable story that digs deep into one's inner darkness, both literally and figuratively. The titular story, "Engines of Desire," is nothing to shrug off, and it's an interesting technique that showcases why O. Henry-type stories aren't necessarily to be praised: Llewellyn reveals her hand early on and it's the character's motivation that piques the reader's curiosity.
While Llewellyn's writing can be demure when it needs to be, for the most part, it's seldom elegant, and that's the potency of the author's technique. Imagine the word "fuck" for example, and while other writers might use it to simply insult, Llewellyn's apt usage is such that it both seduces and kicks the reader in the groin. The author is unapologetic when it comes to Engines of Desire, and to read such a collection is to know corrupted passion. Such base emotions are seldom spoken in polite company, and that's where this book revels in.
As a collection, Engines of Desire is aptly titled. There's a certain roughness when it comes to the word "engine" but it's also workman-like and efficient. Llewellyn's prose isn't perfect as there's bits here and there that could be polished, but overall, it gets the job done. The inclusion of desire, on the other hand, is what separates the author from her peers, as it is a common element in most of Llewellyn's stories. If the topic was Lovecraft's bane, the author incorporates it into her narrative and channels it into something primal that triggers our collective lizard-brain. It's sensual, yes, but just like her protagonists, one must always question whether surrendering to it is safe. The image that springs to mind when describing this collection is that of an Ouroboros: the narrative is engaging, but it also fuel for what comes next, thus creating this cycle of satisfaction and hunger.
There are ten stories in this book and the only time the author falters for me is "Brimstone Orange" mainly due to its length. One would argue that the other flash fiction piece in the collection, "Teslated Salishan Evergreen," should suffer such a fate, but its parameters are well-defined (a faux encyclopedic entry on a fictional plant) and the concept is executed perfectly. When it comes to must-reads, it's a tie between "At the Edge of Ellensburg" and "Jetsam". Both contain elements of what makes Llewellyn terrific and unique: forbidden passion, characters that are double-edged, and a darkness that simultaneously destroys and saves. Thematically, the two stories are different from each other, but both bear the distinction of a Llewellyn story without the heavy-handedness of Lovecraft pastiches. "Her Deepness," a lengthy, fantastical (steampunkish?) piece, is similarly engaging, although it lacks a certain level of eroticism that marks her other stories. Still, it's a memorable story that digs deep into one's inner darkness, both literally and figuratively. The titular story, "Engines of Desire," is nothing to shrug off, and it's an interesting technique that showcases why O. Henry-type stories aren't necessarily to be praised: Llewellyn reveals her hand early on and it's the character's motivation that piques the reader's curiosity.
While Llewellyn's writing can be demure when it needs to be, for the most part, it's seldom elegant, and that's the potency of the author's technique. Imagine the word "fuck" for example, and while other writers might use it to simply insult, Llewellyn's apt usage is such that it both seduces and kicks the reader in the groin. The author is unapologetic when it comes to Engines of Desire, and to read such a collection is to know corrupted passion. Such base emotions are seldom spoken in polite company, and that's where this book revels in.
January 10, 2012 Links and Plugs
Interviews and Profiles
Advice/Articles
News
- The Once and Future Podcast interviews Diana Rowland.
- Breakfast With The Author spotlights Lawrence Santoro.
- Weird Fiction Review (Jeff VanderMeer) interviews Lucius Shepard.
- Weird Fiction Review (Edward Gauvin) profiles André Pieyre de Mandiargues.
- Tiffany Trent interviews Stephanie Burgis.
- Publisher's Weekly (Barbara Vey) interviews Marjorie M. Liu.
- Jen Wylie interviews Lou Antonelli.
- Theaker's Quarterly Fiction #39 interviews Matthew Hughes (PDF).
Advice/Articles
- Juliette Wade on Why the internet is a trap - and how this writer deals with it.
- Janice Hardy on The Line Forms Where? Knowing Where to Start Your Novel.
- Mike Shatzkin on Some things that were true about publishing for decades aren’t true anymore.
- Richard Parks on The Downside of Persistence.
- Ari Marmell on The Shared DNA of Epic Fantasy and Steampunk.
- Kate Elliott on Re-reading and the Experience of Narrative.
- The Fictorian Era (Mercedes M. Yardley) on Your First Hate Mail: How Life Can Change After Working For a Magazine.
- The Guardian (Sarah Crown) on Science fiction for children: what would you recommend?
- Lisa L. Hannett (Theodora Goss) on Letting Stubborn Stories Breathe.
- Fantasy Matters (Mark Schelske) on The Good, The Bad, And The Ugly: Killing A Main Character In Science Fiction And Fantasy.
- Theodora Goss on Fantasy Magazines.
- io9 (Charlie Jane Anders) on The Rules of Magic, According to the Greatest Fantasy Sagas of All Time.
- Weird Fiction Review (Elwin Cotman) on Yoshiaki Kawajiri’s Urban Hells.
- Inkpunks (Wendy Wagner) on Home Practice.
- Omnivoracious (Stacy Whitman) on Writing Cross-Culturally.
News
- Subterranean Press Free Tad Williams ARCs.
- Now recruiting – editor required for brand new Angry Robot imprint.
- Players Roll the Dice for Dungeons & Dragons Remake.
- HWA Lifetime Achievement Awards.
- The Joy of Books (video).
- Mythic Delirium 26: announcing the table of contents.
Monday, January 09, 2012
January 9, 2012 Links and Plugs
Interviews and Profiles
Empire State by Adam Christopher
- Odyssey Workshop interviews Jeanne Kalogridis.
- Outer Alliance interviews Rose Lemberg.
- Locus interviews Claude Lalumiere.
- ABC Book Show interviews Paolo Bacigalupi (podcast).
- Book View Cafe (Linda Nagata) on Why Science Fiction Short Stories Are Really Hard to Write.
- Book View Cafe (Sherwood Smith on Writers Workshops–Viable Paradise.
- Charlie Stross on World building 301: some projections.
- Inkpunks (Erika Holt) on Writing Workshops for Everyone.
Empire State by Adam Christopher
Friday, January 06, 2012
January 6, 2012 Links and Plugs
Interviews and Profiles
The Serpent Sea by Martha Wells
- SFFWRTCHT: A Chat With Author Daniel Polansky.
- Galactic Suburbia Episode 50 (podcast).
- Suvudu (Fictional Frontiers) interviews China Mieville (podcast).
- Bryan Thomas Schmidt on Write Tip: Thoughts On Choosing Point Of View.
- Kristine Kathryn Rusch on The Business Rusch: Writers: Will Work For Cheap.
- Chuck Wendig (Stephen Blackmoore) on Terror And The Debut Author.
- The Guardian (Alison Flood) on JRR Tolkien's Nobel prize chances dashed by 'poor prose'.
- The Guardian (Damien G. Walter) on Romantic fantasy, fiction and reality.
- SF Novelists (Alma Alexander) on Promotion, self-promotion, and all that jazz.
- SFFWorld Review of the Year 2011: Part 1|Part 2.
- Rick Klaw on Presenting The Apes of Wrath.
- Tor.com (Irene Gallo) on The Handmaid’s Tale, Fahrenheit 451 & Other Beautiful New Folio Society Books.
The Serpent Sea by Martha Wells
Thursday, January 05, 2012
Essay: Unpacking the Philippine Policy on Book Taxes
I am not a lawyer. What I do have, however, is documentation. What I want to discuss is the country's policy when it comes to the taxation of books. I don't want to limit it to the law itself, but rather the implementation and enforcement of policy (for example, this iPhone App wouldn't be necessary of taxi drivers in the country actually followed policy).
Last May 2009, the issue of the "Book Blockade" is brought up by Robin Hemley. Manuel L. Quezon III has a detailed timeline of the events that transpired. Suffice to say, then-President Arroyo lifts taxes on book imports.
However, this isn't the end of the discussion when it comes to taxes on import books. And as I said in an old blog entry, what takes place isn't a "book blockade" per se, although numerous writers, bloggers, and journalists have used the term:
From March 2011:
From November 2011:
Here's the breakdown:
Customs Documentary Stamp - P250.00
Import Processing Fee - P250.00
BIR Documentary Stamp - P15.00
Rate of Duty - 1% of Declared Value
VAT - 12% of the sum of Customs Documentary Stamp, Import Processing Fee, BIR Documentary Stamp, Rate of Duty, and Declared Value.
As an example, a P500.00 paperback book would cost you P642.00.
The breakdown would be P250.00 (Customs Documentary Stamp) + P250.00 (Import Processing Fee) + P15.00 (BIR Documentary Stamp) + P5.00 (Rate of Duty) + P122 (VAT).
Here's another example, a set of books amounting to P2,000.00. The total tax would be P839.00.
P250.00 (Customs Documentary Stamp) + P250.00 (Import Processing Fee) + P15.00 (BIR Documentary Stamp) + P20.00 (Rate of Duty) + P304 (VAT).
When it comes to policy, the problem here is that the taxation of these books are arbitrary. I have some packages which aren't taxed. Others are. Lately, I'm being taxed for books that are shipped in boxes (as opposed to envelopes). Clearly, there is a problem with implementation and enforcement.
As far as filing an exemption is concerned, here's the instructions from the National Book Development Board's (NBDB) website (I am only highlighting passages with regards to fees):
Now the second fee (Import Processing Fee, etc.) is in line with the breakdown I gave previously. I also want to amend that the Post Office Parcel Fee has been increased to P40.00.
So under the exemption guidelines, whether I'm seeking exemption for a book costing P100.00 or books costing P99,999.99, it's going to cost me P645.00 [sic].
To be fair, to a commercial importer or institution, the exemption process might be considered reasonable. To an individual, however, the effort, time, and costs is arguably not worth it.
Moving on with our discussion, In August 2011, the DOF issued another statement, which can be summarized as: you need to file for exemption. (For reference, consult these PDFs: CUSTOMS MEMORANDUM ORDER NO. 25-2011 and CUSTOMS MEMORANDUM ORDER NO. 25-2011A.)
As of December 12, 2011, the Department of Finance issued a new department order (which was publicly disclosed a few days ago). In many ways, it is more favorable than the previous memo. I'll quote the relevant sections:
There is even further clarification in today's announcement:
Well, theoretically, if the book is for personal use (six or less copies of the same title for an individual, twice that for institutions), then you will not be taxed. And by tax, that probably means VAT and Rate of Duty (if NBDB's exemption policies applies here). It is unclear whether the other fees apply. For example, there is no omitting the P40.00 Post Office Parcel Fee. That's a reasonable cost for a public service. There is an argument to be made, however, for the various Documentary Stamps and Processing Fees, which amount to P515.00.
Another issue for me is that while it's nice to have this in theory, whether this will be actually be implemented. The Post Office and Customs have, after all, disregarded the law as evidenced by events prior to and post Book Blockade.
To commercial institutions, this is a boon, as the law is transparent. For other institutions, however, such as libraries (which may exceed the twelve-book limit) or charities (or whoever might solicit book donations), this might be an issue.
At least one Senator, Senator Pia Cayetano, wants further clarification and simplification:
Last May 2009, the issue of the "Book Blockade" is brought up by Robin Hemley. Manuel L. Quezon III has a detailed timeline of the events that transpired. Suffice to say, then-President Arroyo lifts taxes on book imports.
However, this isn't the end of the discussion when it comes to taxes on import books. And as I said in an old blog entry, what takes place isn't a "book blockade" per se, although numerous writers, bloggers, and journalists have used the term:
There are some things which I want to clarify: this is not (just) the book blockade. For the most part, the book blockade centered on importers of books, namely the distributors and bookstores. That aspect was successfully fended off (for now). The issue of arbitrary taxing of individuals at the post office is a separate issue, and was not championed by Rep. Teodoro Locsin Jr.To be fair to Robin Hemly, I am guilty of what he was originally fearful of:
However, what worries me is that some bloggers in the Philippines are parsing the issues too finely, in such a legalistic manner that they run the risk of diluting the issue entirely. The bottom line is that the Philippines is in direct violation of an international U.N. treaty it ratified in 1979 that prohibits any and all duties imposed on books. It's that simple. No wiggle room.So in 2009, while (commercial) importers of books may have been exempted from taxes on import books, individuals weren't. In August of the same year, there was this complaint:
According to the NBDB, the individual book buyer must apply for duty exemption at the DOF. You get the exemption the same day you apply for it; you have to apply for an exemption every time you have books coming in. It’s just how it is right now.Before I proceed, let me present to you receipts from the post office from 2011, just to show you how much tax a citizen has to pay.
From March 2011:
From November 2011:
Here's the breakdown:
Customs Documentary Stamp - P250.00
Import Processing Fee - P250.00
BIR Documentary Stamp - P15.00
Rate of Duty - 1% of Declared Value
VAT - 12% of the sum of Customs Documentary Stamp, Import Processing Fee, BIR Documentary Stamp, Rate of Duty, and Declared Value.
As an example, a P500.00 paperback book would cost you P642.00.
The breakdown would be P250.00 (Customs Documentary Stamp) + P250.00 (Import Processing Fee) + P15.00 (BIR Documentary Stamp) + P5.00 (Rate of Duty) + P122 (VAT).
Here's another example, a set of books amounting to P2,000.00. The total tax would be P839.00.
P250.00 (Customs Documentary Stamp) + P250.00 (Import Processing Fee) + P15.00 (BIR Documentary Stamp) + P20.00 (Rate of Duty) + P304 (VAT).
When it comes to policy, the problem here is that the taxation of these books are arbitrary. I have some packages which aren't taxed. Others are. Lately, I'm being taxed for books that are shipped in boxes (as opposed to envelopes). Clearly, there is a problem with implementation and enforcement.
As far as filing an exemption is concerned, here's the instructions from the National Book Development Board's (NBDB) website (I am only highlighting passages with regards to fees):
VALUE OF IMPORTATION FILING FEEBut wait, there's more:
Php100,000.00 and below Php 200.00
From Php 100,000.00 to Php 140,000.00 400.00
From Php 140,000.00 to Php 700,000.00 600.00
From Php 700,000.00 to Php 1,000,000.00 800.00
Over Php 1,000,000.00 1,000.00
After getting the appropriate signature, the importer, with all the approved documents, should proceed to the postal office to pay the appropriate BOC and Postal Office
fees as follows:
Import Processing Fee
Customs Documentary Stamp Php 515.00
BIR Stamp
Post Office Parcel Fee Php 35.00
TOTAL Php 545.00
Now the second fee (Import Processing Fee, etc.) is in line with the breakdown I gave previously. I also want to amend that the Post Office Parcel Fee has been increased to P40.00.
So under the exemption guidelines, whether I'm seeking exemption for a book costing P100.00 or books costing P99,999.99, it's going to cost me P645.00 [sic].
To be fair, to a commercial importer or institution, the exemption process might be considered reasonable. To an individual, however, the effort, time, and costs is arguably not worth it.
Moving on with our discussion, In August 2011, the DOF issued another statement, which can be summarized as: you need to file for exemption. (For reference, consult these PDFs: CUSTOMS MEMORANDUM ORDER NO. 25-2011 and CUSTOMS MEMORANDUM ORDER NO. 25-2011A.)
As of December 12, 2011, the Department of Finance issued a new department order (which was publicly disclosed a few days ago). In many ways, it is more favorable than the previous memo. I'll quote the relevant sections:
c. Personal effects/personal use – As explained by Customs Administrative Order No. 7-72 or the implementing rules and regulations of Section 105 of the TCCP, as amended, this term refers to those embracing all articles of personality not considered as merchandise, including books.
For purposes of this Order, books considered as personal effects or for personal use shall mean those, the quantities of which do not exceed twelve (12) copies of any one work when imported by an institution; or six (6) copies of any one work when imported by an individual.
3. Guidelines
All imported books, whether for commercial or personal use with the exception of those published by or for a private commercial enterprise essentially for advertising purposes as stated in Annex A of the Florence Agreement, are exempt from customs duties. Importation of books is likewise exempt from value-added tax (VAT) pursuant to Section 109 (R) of the National Internal Revenue Code.
3.1 For Books Imported in Commercial Quantities
Prior to the release by the Bureau of Customs (BOC) of books imported in commercial quantities, the importers must first present an endorsement from the Revenue Office of the Department of Finance for the duty- and VAT-free importation of books/materials covered by the Florence Agreement which shall be issued after submission of the following documents —
...
3.2 For Books Imported as Personal Effects or for Personal Use
The endorsement prescribed under Section 3.1 hereof shall not be required for books imported as personal effects or for personal use as defined under Section 2(b) of this Order, whether transported as accompanied baggage, through couriers or the post offices. Said importations however, should be cleared and released through the required declaration of goods as provided under existing rules and regulations.
There is even further clarification in today's announcement:
Books that are for “personal use” are those “embracing all articles of personality not considered as merchandise.” This should “not exceed 12 copies of any one work when imported by an institution or six copies of any one work when imported by an individual.”What does this mean?
Otherwise, imports will be treated as of “commercial quantity,” considered “in excess of what is compatible and commensurate with a person’s normal requirements,” the order stated.
Under this classification, the order said importers must first present an endorsement from the Revenue Office of the Finance department, certifying that products to be imported fall within those granted tax and duty exemptions by the Florence Agreement.
The order listed down documentary requirements that need to be submitted to secure such endorsement. They are: bill of lading, commercial invoice, packing list with title of books, affidavit to the effect that the shipment consists of books, certification from UNESCO Office in the Philippines attesting that the importation/s is/are covered by the Florence Agreement, and registration certificate with the National Book Development Board as book importer or publisher.
In case of donated books, a deed of donation duly authenticated by the Philippine Consulate abroad and deed of acceptance must be provided, the order stated. An authority is also required should the consignee assign a representative to facilitate the books’ release.
Well, theoretically, if the book is for personal use (six or less copies of the same title for an individual, twice that for institutions), then you will not be taxed. And by tax, that probably means VAT and Rate of Duty (if NBDB's exemption policies applies here). It is unclear whether the other fees apply. For example, there is no omitting the P40.00 Post Office Parcel Fee. That's a reasonable cost for a public service. There is an argument to be made, however, for the various Documentary Stamps and Processing Fees, which amount to P515.00.
Another issue for me is that while it's nice to have this in theory, whether this will be actually be implemented. The Post Office and Customs have, after all, disregarded the law as evidenced by events prior to and post Book Blockade.
To commercial institutions, this is a boon, as the law is transparent. For other institutions, however, such as libraries (which may exceed the twelve-book limit) or charities (or whoever might solicit book donations), this might be an issue.
At least one Senator, Senator Pia Cayetano, wants further clarification and simplification:
“However, we are still trying to get clarification from the DOF on the procedures for the clearance and release of imported books. For those importing for commercial purposes, there’s a long list of requirements under the directive. I am of the opinion that these requirements are too stiff, and I will take this up with the DOF. For those importing for personal purposes, I just want to ensure that there won’t be cumbersome paperwork involved.”
At the same time, she said the DOF Order should also be disseminated to all BOC and DOF offices and personnel, as well as courier services, to prevent any confusion in its implementation.
January 5, 2012 Links and Plugs
Interviews and Profiles
News
A Working Writer's Daily Planner 2012
- Adventures in SciFi Publishing interviews Edge Books (podcast).
- Rocket Kapre (Paolo Chikiamco) interviews Rochita Loenen-Ruiz.
- John Scalzi's The Big Idea: Stephen Blackmoore.
- The King of Elfland's Second Cousin reviews The Fantastic: A Structural Approach to a Literary Genre by Tzvetan Todorov.
- Adventures in SciFi Publishing (Bryan Thomas Schmidt) on The Problem With Moral Abiguity In Fiction.
- AMC (John Scalzi) on Previewing 2012's Science Fiction Film Slate.
- io9 (Charlie Jane Anders) on 70 Science Fiction and Fantasy Movies to Watch Out for in 2012.
- Daily Write (Bryan Thomas Schmidt) on How To Adapt A Well Known Story For Fiction.
- Wordnik on Word Soup: Science Fiction.
- SFWA (Mary Robinette Kowal) on Debut Author Lessons–How to deal with self-promotion and award season.
- Juliette Wade on What your character doesn't know can hurt him/her (in dialogue and internalization).
- Janice Hardy on I Meant to do That: Three Things Die Hard Can Teach us About Seamless Plotting.
- The Intern on Dinner with Literary Agents.
- Mike Shatzkin on The digital future still is a mystery if you don’t publish “immersive reading”.
- Inkpunks (Steven James Scearce) on I’ve finished writing my first novel. What the hell do I do next?
- Kay Kenyon on This Year No Excuses.
- Kate Elliott on Ways of Struggling with Gender.
News
- The Best Horror of the Year Volume Four table of contents.
- Epic anthology Short Story Recommendations.
A Working Writer's Daily Planner 2012
Wednesday, January 04, 2012
January 4, 2012 Links and Plugs
Interviews and Profiles
Advice/Articles
News
Three Messages and A Warning edited by Eduardo Jiménez Mayo & Chris. N. Brown
- Angela Slatter and Lisa L Hannett interviews China Mieville.
- Thomas A. Knight interviews J. Robert King.
- Apex Magazine (Maggie Slater) interviews Gregory Frost.
- Innsmouth Free Press interviews Mike Davis.
Advice/Articles
- The Millions Most Anticipated: The Great 2012 Book Preview.
- Megan Kurashige on Making It Up.
- Chuck Wendig on 25 Things Writers Should Stop Doing.
- Fantasy Matters (Marcos Faria) on The Fantasy Literature of Brazil.
News
Three Messages and A Warning edited by Eduardo Jiménez Mayo & Chris. N. Brown
Tuesday, January 03, 2012
January 3, 2012 Links and Plugs
Interviews and Profiles
Advice/Articles
News
MM9 by Hiroshi Yamamoto
- The Wheeler Centre interviews Neil Gaiman (video).
- Douglas Cobb interviews John C. Wright.
- The World SF Blog (Val Grimm) interviews Jonathan Reynolds and Guillaume Houle.
Advice/Articles
- New York Times (Edward Lewine) on Christopher Paolini’s Dragon Lair.
- io9 (Annalee Newitz) on The Best Science Fiction and Fantasy Books of 2011.
- Strange Horizons 2011 in Review.
- Bryan Thomas Schmidt (Emmy Jackson) On Writing.
- Tangent Online Recommended Reading List 2011.
- Janice Hardy on What the Heck was I Thinking? Reevaluating Your Writing Process.
- Inkpunks (John Joseph Adams) on Basic Training for Writers.
- Omnivoracious (Susan J. Morris) on Resolve to Write: 52 Writing Exercises to Hone Your Craft.
News
- Diaspora Ad Astra Table of Contents.
- Glenn Lord (1931-2011).
- The Cascadia Subduction Zone Vol. 1 No. 3.
MM9 by Hiroshi Yamamoto
Monday, January 02, 2012
January 2, 2012 Links and Plugs
Interviews and Profiles
Advice/Articles
News
Eyes to See by Joseph Nassise
- Radio Drama Revival interviews Ellen Kushner (podcast).
- Rowena Cory Daniells interviews Cheryl Morgan.
- Jonathan Strahan chats with Gary K. Wolfe (podcast).
- Lightspeed (Theodore Quester) interviews Sarah Monette.
- Robot 6 (Brigid Alverson) interviews Marjorie M. Liu.
- The Outer Alliance Podcast interviews Conni Convington and Natania Barron (podcast).
- If You're Just Joining Us interviews Michael Dempsey (podcast).
- Clarkesworld (Jeremy L. C. Jones) interviews Robert Jackson Bennett.
Advice/Articles
- Book View Cafe (Laura Anne Gilman) on Practical Meerkat’s 52 Bits of Useful Info for Young (and Old) Writers, week 52.
- Book View Cafe (Sue Lange) on Book Publicity To Do List Item #366: Kidnap a Baby.
- Aqueduct (Cat Rambo) on Best of 2011.
- Aqueduct (Liz Henry) on The Pleasures of Reading, Viewing, and Listening in 2011.
- Rich Horton Summary: Fantasy, 2011; Lightspeed, 2011; Clarkesworld, 2011.
- Inkpunks (Morgan Dempsey) on New Year, Same Goals.
- Locus (Cory Doctorow) on A Vocabulary for Speaking about the Future.
News
Eyes to See by Joseph Nassise
Sunday, January 01, 2012
2011
Fell in love.
Heart got broken.
Went to WFC.
Met in person some of my good friends, favorite writers, editors, publishers, etc.
Bought an iPod Touch and an iPad.
Traveled abroad after more than a decade.
Traveled alone.
Editing an original anthology.
Started a podcast.
Started writing for comics again.
Quit day job.
Got a new job.
Gave a talk at a local con.
Got a credit card.
Indulged in beer.
Pneumonia.
Chronic Blepharitis.
Heart got broken.
Went to WFC.
Met in person some of my good friends, favorite writers, editors, publishers, etc.
Bought an iPod Touch and an iPad.
Traveled abroad after more than a decade.
Traveled alone.
Editing an original anthology.
Started a podcast.
Started writing for comics again.
Quit day job.
Got a new job.
Gave a talk at a local con.
Got a credit card.
Indulged in beer.
Pneumonia.
Chronic Blepharitis.
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