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More at:
http://blacksciencefictionsociety.com/page/book-of-the-month
http://mythicallegends.com/index.php/2013-03-11-06-01-03

Genius Issues 1 - 5
(W) Adam Freeman & Marc Bernardin
(A) Afua Richardson

What if the greatest military mind of our generation was born to a people who are already supremely conditioned to wage war, who know nothing but violence since birth, and must continually adapt to new predators in order to survive? What if the second coming of Alexander the Great, of Genghis Khan, of Napoleon, of Patton...what if it was a teenaged girl from South Central, L.A. named Destiny? And what if she decides to secede three blocks of the ‘Hood from the Union? Who is going to take it back from her and her army of gangbangers? Who CAN?

Charles Richard Drew was born on June 3, 1904, in Washington, D.C. He was an African-American physician who developed ways to process and store blood plasma in "blood banks." He directed the blood plasma programs of the United States and Great Britain in World War II, but resigned after a ruling that the blood of African-Americans would be segregated. He died on April 1, 1950.

Early Life

Drew grew up in Washington, D.C. as the oldest son of a carpet layer. In his youth, Drew showed great athletic talent. He won several medals for swimming in his elementary years, and later branched out to football, basketball and other sports. After graduating from Dunbar High School in 1922, Drew went to Amherst College on a sports scholarship. There, he distinguished himself on the track and football teams.

Drew completed his bachelor's degree at Amherst in 1926, but didn't have enough money to pursue his dream of attending medical school. He worked as a biology instructor and a coach for Morgan College, now Morgan State University, in Baltimore for two years. In 1928, he applied to medical schools and enrolled at McGill University in Montreal, Canada.

At McGill University, Drew quickly proved to be a top student. He won a prize in neuroanatomy and was a member of the Alpha Omega Alpha, a medical honor society. Graduating in 1933, Drew was second in his class and earned both Doctor of Medicine and Master of Surgery degrees. He did his internship and residency at the Royal Victoria Hospital and the Montreal General Hospital. During this time, Drew studied with Dr. John Beattie, and they examined problems and issues regarding blood transfusions.

Father of Blood Banks

In 1938, Drew received a Rockefeller Fellowship to study at Columbia University and train at the Presbyterian Hospital in New York City. There, he continued his exploration of blood-related matters with John Scudder. Drew developed a method for processing and preserving blood plasma, or blood without cells. Plasma lasts much longer than whole blood, making it possible to be stored or "banked" for longer periods of time. He discovered that the plasma could be dried and then reconstituted when needed. His research served as the basis of his doctorate thesis, "Banked Blood," and he received his doctorate degree in 1940. Drew became the first African-American to earn this degree from Columbia.

As World War II raged in Europe, Drew was asked to head up a special medical effort known as "Blood for Britain." He organized the collection and processing of blood plasma from several New York hospitals, and the shipments of these life-saving materials overseas to treat causalities in the war. According to one report, Drew helped collect roughly 14,500 pints of plasma.

In 1941, Drew worked on another blood bank effort, this time for the American Red Cross. He worked on developing a blood bank to be used for U.S. military personnel. But not long into his tenure there, Drew became frustrated with the military's request for segregating the blood donated by African Americans. At first, the military did not want to use blood from African Americans, but they later said it could only be used for African-American soldiers. Drew was outraged by this racist policy, and resigned his post after only a few months.

Whoa, you say, politics? I am not writing some political work, I am just telling the tale of a simple space marine who battles hyper-intelligent alien bees trying to invade our dimensions (Ed: Yes, please, tell me more...). 

Authors, especially the new or under-read, have a tendency to argue the studious un-political nature of their work. The reasons may vary. Perhaps they do not want to upset potential readers and customers. And why not, Orson Scott Card went from beloved author to homophobic bigot in a lot of minds based on religious beliefs that informed his political position. (even this criticism pales in comparison to the amount of real and digital ink spent on the fascist nature of Ender's Game itself.) 

Alternatively, perhaps an author has a general uncomfortableness about speaking on political issues or a genuine desire to write tales having an apolitical affect. 

However, it is impossible to write good, character driven, para-fiction without having those same characters take a political position. It is impossible to build a successful world for your characters to inhabit without having a political position.

Situating a character into the world you have built requires more than just placing motivation in her head and obstacles at his feet. You have to ground your characters within the philosophical framework of the world they live and the options they have available.  In the same way that it is impossible to ignore the economic standing of your character (try reading Jane Austen and not come away with a useful understanding of the rentier economy of Georgian England), it is impossible to untangle the politics of a character from their motivation.  

Politics includes more than where one (the author or the character stand) stands on the hot button social issue of they day. Politics means a political outlook. A particular view of the world as it is seen through the character's eyes (if it is a first person narrative) or multiple character's experiences. The political view of the character does not need to be endorsed by the author, but the author does need to explain the political position of the characters. 

Is your hero battling a dystopian government? Why is the government horrible? Is it the fault of the government, or some outside agent that is causing grey skies and sad people. If it is the government, why is it doing this? Sometimes in the rush to have people battle on post-apocalyptic roof-tops, authors forget to do the hard work of building the foundations of conflict. If only America has fallen into ruin, Why? What was it about the politics of America that caused this downfall? What policies does the government implement that make it evil, or good? Unelected dictator? So your hero is a pro-democracy advocate? Elected counsel of evil Corporations?  Complete Anarchy and Individualism and ultra-property rights? Collective action, Forced Community? It is impossible to have your characters stand against something without also standing for something else. 

To build great characters, you need to build a political dossier along with a physical and economic dossier. Once you character has a stance on the issues, not of your day, but of her day, then the conflict from those stances becomes easier to envision and capture. 

Reprinted from: www.moorsgatemedia.blogspot.com

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