Books like Stream System — picked by fans

I worked for the last 25 years teaching literature classes and creative writing workshops—most of that time at the University of California at Davis. The students in my classes were mainly English majors and/or young writers. They tended to be serious about the potential of a text. To be serious, today, in America, about the potential of a text is to dwell in an inherently counter-cultural position. It is to conceive of the value of a text as something surpassing entertainment, i.e., use. Such a surpassing is a blasphemous notion… still tolerated in the context of the University. Its proliferation beyond those boundaries seems unworkable.  

I worked for the last 25 years teaching literature classes and creative writing workshops—most of that time at the University of California at Davis. The students in my classes were mainly English majors and/or young writers. They tended to be serious about the potential of a text. To be serious, today, in America, about the potential of a text is to dwell in an inherently counter-cultural position. It is to conceive of the value of a text as something surpassing entertainment, i.e., use. Such a surpassing is a blasphemous notion… still tolerated in the context of the University. Its proliferation beyond those boundaries seems unworkable.  

I worked for the last 25 years teaching literature classes and creative writing workshops—most of that time at the University of California at Davis. The students in my classes were mainly English majors and/or young writers. They tended to be serious about the potential of a text. To be serious, today, in America, about the potential of a text is to dwell in an inherently counter-cultural position. It is to conceive of the value of a text as something surpassing entertainment, i.e., use. Such a surpassing is a blasphemous notion… still tolerated in the context of the University. Its proliferation beyond those boundaries seems unworkable.  

I worked for the last 25 years teaching literature classes and creative writing workshops—most of that time at the University of California at Davis. The students in my classes were mainly English majors and/or young writers. They tended to be serious about the potential of a text. To be serious, today, in America, about the potential of a text is to dwell in an inherently counter-cultural position. It is to conceive of the value of a text as something surpassing entertainment, i.e., use. Such a surpassing is a blasphemous notion… still tolerated in the context of the University. Its proliferation beyond those boundaries seems unworkable.  

A genuine Aussie bookish girl, I’ve been an editor in the Australian publishing industry for 25 years, and I’ve been writing Australian novels for 15 of them. When I’m not reading or writing, I’m reviewing Australian books – can’t get enough of them! I’ve dedicated my heart and mind to exploring and seeking to understand the contradictions and quirks of the country I am privileged to call home, from its bright, boundless skies to the deepest sorrows of bigotry and injustice. Acknowledging the brilliance of those women writers who’ve come before me and shining a light ahead for all those to come is the most wonderful privilege of all. 

Look, it’s simple really. Peter Pan visited me when I was young, abducted me, and showed me that remaining a big kid is much more beneficial than becoming a boring adult with too many responsibilities. I’ve published multiple MG books and prefer this genre’s colourful, exciting stories. I’m also Australian, and we have a weird sense of humour, so I’m not sure if that classifies as expertise on this particular subject, but let’s go with that. 

I am Sumit Lodhia, a Professor of Accounting at the University of South Australia who has a primary research interest in sustainability accounting and reporting. Sustainable development is something that I am very passionate about, and I consider myself lucky enough to research in this area and to teach a course on this subject matter to third year undergraduate accounting students. I am a former resident of the beautiful Fiji Islands, and my lived experiences here and in my current country of residence, Australia, have shaped my worldview that focuses on equity, transparency, democracy, morality, and compassion.

I’m a Pom, as Aussies would say, born and bred in England to an Australian mother and British father. I emigrated to Australia as a ten-pound Pom way back when and though I eventually came home again I’ve always retained an affection and a curiosity about the country, which in time led me to write three books about my own family history there. The early days of colonial Australia, when around 1400 people, half of whom were convicts, ventured across the world to found a penal colony in a country they knew almost nothing about, is one of the most fascinating and frankly unlikely stories you could ever hope to come across. 

I’m Australian and there’s a big place in my heart for Australian-set stories. I read mostly for escapism, but there’s a deeper connection with tales from my own backyard. I’ve also always loved speculative fiction – everything from epic and paranormal fantasy to space opera and dystopian thrillers – and I’m excited when my favourite genres and setting come together. My day job is in local government. I’ve seen how government decisions can impact the trajectory of a society, and I’m particularly drawn to stories that explore that theme. I’m the author of five speculative fiction novels with Australian settings: the four novels in The Rephaim series (supernatural fantasy) and The Undercurrent (slightly futuristic/pre-apocalyptic). 

I am an African Australian author of several novels and fiction collections, and a finalist in the 2022 World Fantasy Award. I was announced in the honor list of the 2022 Otherwise Fellowships for ‘doing exciting work in gender and speculative fiction’. I have a master's degree with distinction in distributed computer systems, a master's degree in creative writing, and a PhD in creative writing. The short story is my sweetest spot. I have a deep passion for the literary speculative, and I write across genres and forms, with award-winning genre-bending works. I am especially curious about stories of culture, diversity, climate change, writing the other, and betwixt.