Elizabeth Hand is a woman of many talents. She writes for The Washington Post, Village Voice and several other publications, has been commissioned to write adaptations for The X-Files, 12 Monkeys, and several Star Wars books around bounty hunter, Boba Fett. In the 1990s she co-wrote a DC Comics series with Paul Witcover called Anima. Oh and for her fiction work, she has won Nebula, International Horror Guild, and World Fantasy awards.
Ms. Hand's newest novel, Generation Loss, is a gritty thriller involving a burnt out relic of a photographer from the 1970s punk scene, Cass Neary, who is given a mercy assignment to interview a reclusive photographer in Maine. On arrival she finds herself in an old mystery that is still claiming lives.
AbeBooks wanted to get to know Elizabeth a little better, and here is the result.
Was it hard to switch from mostly writing in a fantasy world to writing Generation Loss?
But I did learn that I missed the fantastic element — I missed writing with special effects, as it were, that sense of mystery and immanence that flickers around and within my work. But I found I could get that same frisson by writing about art — photography, in Generation Loss — which for me has always seemed a window into the transcendent. And that search for the transcendent is pretty much what informs all of my fiction, so this was just a different angle on it.
Do you see more general fiction (or 'real world') books in your future?
How did you get into writing the Boba Fett series for the Star Wars Expanded Universe?
...and is it just me or does Boba Fett have a really large 'fan club'?
What are you currently reading?
Who was your favorite photographer from the 70s/80s east coast punk scene?
Best SF&F author of all time?
Does the adaptation work turn people onto your original material?
Cass Neary made her name in the 1970s as a photographer embedded in the burgeoning punk movement in New York City. Her pictures of the musicians and hangers on, the infamous, the damned, and the dead, got her into art galleries and a book deal. But thirty years later she is adrift, on her way down, and almost out. Then an old acquaintance sends her on a mercy gig to interview a famously reclusive photographer who lives on an island in Maine. When she arrives Downeast, Cass stumbles across a decades-old mystery that is still claiming victims, and into one final shot at redemption.