Browsed by
Author: Soyka

Interzone November-December # 237

Interzone November-December # 237

Comments 2 comments

interzone-394The November – December issue of Interzone contains substantial new stories by Lavie Tidhar (“The Last Osama”), Jim Hawkins (“Digital Rites”), Douglas Lain (“Erasing the Concept of Sex from a Potobooth”), and Caspian Gray (Caspian Gray); artwork by Richard Wagner, David Gentry, Steve Hambidge; “Ansible Link” genre news and miscellanea by David Langford; “Mutant Popcorn” film reviews by Nick Lowe; “Laser Fodder” DVD/Blu-Ray reviews by Tony Lee; book reviews by Jim Steel and other contributors.

Interzone alternates monthly publication with sister dark horror focused Black Static, published by the fine folks at TTA Press.

You can subscribe to the print version here, or the electronic edition here; there’s also a special discounted rate for a joint subscription to both Interzone and Black Static. Lifetime subscriptions are also available. What you’re buying, in essence, is a 10-year subscription at the current rate.  If you think you’re going to live for at least another decade, and you think Interzone will also be around for as long, this could be a bargain for whatever time you and the magazine have after that. If that weren’t enough, you can also opt for joint lifetime sub that gets you sister publication Black Static for a slightly reduced rate.  Sign your life away here.


Black Static #25

Black Static #25

Comments 0 Comment

393The November Black Static features new horror fiction from Alison Littlewood (“About the Dark”), Christopher Fowler (“The Curtain Parts), Ray Cluley (“The Travellers Stay”). Nathaniel Tapley (“Best. Summer. Ever.”) and Barbara A. Barnet (“The Holy Spear”).  Nonfiction by the usual suspects, Peter Tennant, Tony Lee, and D.F. Lewis. The editor is Any Cox.

Black Static alternates monthly publication with sister SF and fantasy focused Interzone.

You can subscribe to the print version here, or the electronic edition here; there’s also a special discounted rate for a joint subscription to both Interzone and Black Static. Lifetime subscriptions are also available. What you’re buying, in essence, is a 10-year subscription at the current rate.  If you think you’re going to live for at least another decade, and you think Black Static will also be around for as long, this could be a bargain for whatever time you and the magazine have after that. If that weren’t enough, you can also opt for joint lifetime sub that gets you sister publication Interzone for a slightly reduced rate.  Sign your life away here.


Let’s Play White by Chesya Burke

Let’s Play White by Chesya Burke

Comments 0 Comment

lpw_smallChesya Burke’s new short story collection newly out from Apex Publications provides a take on the horrific and strange from, as you might expect from the title, an African-American perspective. The title comes from the opening story, “Walter and the Three-Legged King,” in which the down on his luck protagonist is advised by a talking rat, one that he’s maimed by tearing off its leg, that “let’s play white” is the only way for him to get a job and avoid getting thrown out of his apartment.  The notion that you have to “play the game” in a job interview is hardly the province of any particular race, however; moreover, the no-doubt low paying  job of doorman the protagonist hopes to land might actually have less to do with “playing white” than “playing subservient,” which is why ethnic minorities probably hold a larger percentage of these kinds of positions.

Of course, sf and fantasy have been a natural home for ethnic writers to explore the state of “otherness” in which alien creatures and societies symbolize the psychology of oppressed racial and sexual minorities.  Burke’s stories are more grounded in the everyday realities of the disenfranchised, realities that are disrupted by cultural myths such as the actually benevolent but of course misunderstood village witch (“The Teachings and Redepmtion of Ms. Fannie Lou Mason”), zombies (“Cue Change”) voodoo (“Chocolate Park”), diviner-healers (“The Unremembered” and “The Light of Cree”)  and the evil eye (“I Make People Do Bad Things”).  Some of the scariest, however, are the most realistic.

…

Read More Read More

Clarkesworld Issue #62

Clarkesworld Issue #62

Comments 0 Comment

cw_62_300The November issue of Clarkesworld is currently online. Featured fiction: “A Militant Peace” by David Klecha and Tobias S. Buckell, “The Smell of Orange Groves” by Lavie Tidhar and part two of Catherynne M. Valente’s “Silently and Very Fast.” Non fiction by Nathaniel Tapley, Jeremy L. C. Jones and Neil Clarke.  The cover art is by Julie Dillon.

All of this is available online for free; there’s even an audio podcast version of “A Militant Peace” read by Mike Allen. However, nothing is really free. The magazine is supported by “Clarkesworld Citizens” who donate $10 or more.

We last covered Clarkesworld with issue #55.

APEX #30 and Weird Fiction Review debut

APEX #30 and Weird Fiction Review debut

Comments 0 Comment

issue31_mediumThe latest Apex Magazine is now available; the thirtieth issue is the first by new editor Lynne M. Thomas.  The issue features former editor Catherinne M. Valente’s “The Bread We Eat in Dreams” (who also contributes a farewell essay and a poem) and “The Leavings of the Wolf” by Elizabeth Bear.  This month’s revisited classic story is “The Creeping Thing” by Robert Shearman.  There’s also poetry by Tim Pratt and Bryan Thao Worra and non-fiction by Tansy Rayner Roberts, as well as several interviews.  For those who might fear change, rest assured that the new editor intends to carry on the Apex tradition:

Apex will continue to shove at the edges of the genre until they bleed. I will be publishing transgressive, visceral stories and poems that show us the best and worst of who we are, rendered with style and precision. Expect work outside of your comfort zone: thoughtful, experimental, emotional, and brave. Here you will find stories and poems that show us a heart, sliced out carefully, still beating in the writer’s hands, for all the world to see.

Also, in the one door closes, another opens category, outgoing Werid Tales editor Ann VanderMeer and spouse Jeff (who you may also have heard of) have launched on-line Weird Fiction Review. There’s a combination of fiction, non-fiction, comics, interviews and other, well, weird stuff.  As the editors describe it:

6300691902_05769d49cb1

This site is meant to be an ongo­ing explo­ration into all facets of the weird, in all of its many forms — a kind of non-denominational approach that appre­ci­ates Love­craftbut also Kafka, Angela Carter and Clark Ash­ton Smith, Shirley Jack­son and Fritz Leiber — along with the next gen­er­a­tion of weird writ­ers and inter­national weird. The emphasis will be on non­fic­tion on writ­ers and par­tic­u­lar books, but we will also run fea­tures on weird art, music, and film, as well as occasional fiction.
Still Not Ready for Prime Time

Still Not Ready for Prime Time

Comments 1 comment

6276241335_53830189a1_o1Well, just as everyone is remarking on how the new conversant iPhone is making science fiction true to life, one pretty big part of the science fiction imagination remains just that; while the 21st century has not only arrived, we’re a decade into it, but we won’t be taking any sight seeing trips to Mars in the near future.  Even a suborbital cruise will have to wait until 2013. The overly ambitiously and to-date technically impossibly named Virgin Galactic, a space tourism company founded by British billionaire and all-around let’s do something fun and make some money at it guy Sir Richard Branson, has announced that commercial flights have been delayed for another two years.  But don’t start buying any tickets, as this is something like the fourth time the schedule has been bumped forward since flights were supposed to begin back in 2008.

If you did want to get in on the ground floor, so to speak, tickets cost $200,000, with a deposit of$20,000 required.  Not sure if that includes complimentary drinks.

Asimov on 21st Century Advertising

Asimov on 21st Century Advertising

Comments 2 comments

imagesBack in 1977, science-fiction writer Isaac Asimov wrote a piece for Advertising Age predicting, among other things, that consumers would opt to receive ads personalized to their interests as well as the role of “persuasion techniques developed by advertology (sic)” to promote social change. While Asimov got the general idea right, he was wrong on the delivery channel for target marketing (he thought it would be television, having no notion of the Internet) and the evolution of political advertising (he thought it would be for the purpose of “battling ignorance and folly” as opposed to most political messages today that’d rather promote ignorance and folly).

Asimov was from a generation of SF writers who saw their avocation in part as to predict the future as a positive, better place to live. In the same article, Asimov conjectured that by 2000, “Energy will once more be relatively plentiful, and it will be used more wisely, we hope, by a world that has been taught by the events of these recent decades to cooperate for survival.” Good luck with that.

I was thinking about this after reading “Novelists Predict Future With Eerie Accuracy” by John Scwartz in The New York Times Sunday Review. He notes the range of predictions that have come to pass, ranging from Jules Verne staging moon launches from Florida to Arthur C. Clarke’s anticipation of satellite communications to Internet virtual realities envisioned by William Gibson and Bruce Sterling, two of the founding fathers of the cyberpunk movement in the 1980s. But he fails to distinguish between those like Asimov who hoped they were right in promoting a future enhanced by technological development and those whose extrapolations of global corporate and media trends led to more decidedly dystopic premonitions.

193176591Alas, it seems as if the optimists who envisioned the twenty-first century as some sort of glittering technological utopia might have gotten some of the details right, but the award for getting right the overall picture of media and marketing malevolence goes to the more pessimistic cyberpunks. As the opening line of the archetypical cyberpunk novel — Gibson’s Neuromancer — describes it:

The sky above the port was the color of television, tuned to a dead channel.

Gibson delineates a world in which industry, technology, and mass media dominate human existence, but not in good ways that Asimov thought it might turn out. Certainly not one in which we’ve all decided to cooperate for our mutual survival.

A Pleasure to Read

A Pleasure to Read

Comments 4 comments
bradbury-burn1Ray Bradbury’s A Pleasure to Burn is a collection of short stories that served as the basis for one of his novels (and what few novels he has written are based on his short stories) Fahrenheit 451. This is repackaging, recycling, and rebranding old stuff (really old, as the novel appeared in 1953 and the stories date back to 1947) to make it appear fresh. Now in his ninth decade, Ray has more than earned the right to let his publishers generate some cash for him the same way the Beatles (as well as a multitude of musical groups from the era) and their heirs keep coming up with repackaged versions of the same old catalog. But, just like repeated listening to the Beatles over the decades, anything that makes you reconsider some “old” notions in a new context still has value.

If you’re not familiar with Fahrenheit 451 (and you really need to rectify that), the premise is that of a dystopia in which television is the ruling order’s opiate to keep the masses content and placid; to that end, reading is literally outlawed as disruptive to social conformity. Firemen no longer put out fires but set fires to surreptitious libraries of the banned books. The protagonist is a fireman who begins to question his purpose and eventually decides to take a look at what he’s supposed to be destroying. Needless to say, his experience in reading books proves the authorities right. Which, of course, Ray wants us to understand, is actually a good thing.

Remember, this was written in the 1950s, back before anyone could even begin to imagine something as stupefying today as The Situation and Snooki, or the anti-intellectualism of the Republican presidential field, or 150 channels and nothing much to watch. This was also the era of McCarthyism, though Bradbury always maintained his novel was not about censorship, easy as it would be to interpret it that way, but rather a critique of American culture.

It still is.

…

Read More Read More

Weird Tales Summer 2011

Weird Tales Summer 2011

Comments 6 comments

wt358-170As usual, I’m behind the curve. I was delighted when I first heard that Ann VanderMeer was taking over Weird Tales but never got around to reading an issue under her direction because, well, I just never got around to it.  Alas, now she’s been relegated to the slush pile as a new owner wants to return the magazine back to its pulp Lovecraftan roots (although, the latest news is that the transition is being handled with a little more class than originally reported and it seems a final VanderMeer edited adieu issue is forthcoming).

I’m undoubtedly in the minority here amongst the crew of the good ship Black Gate in not being overly fond of Lovecraft, Howard and all the other pulp writers and am much more inclined to the “New Weird” sort of fiction that VanderMeer has championed.  Just take a look at the cover of the latest issue.  Nothing pulpish here. To my sensibilities, that’s a good thing.

Or, I guess I now have to say, was a good thing.

In any event, since nothing makes you more eager to catch up on your to-do-list than finding out some of the items are about to disappear, herewith my review of the fiction in the next-to-last VanderMeer edited Weird Tales.

…

Read More Read More

Interzone #236 September-October 2011

Interzone #236 September-October 2011

Comments 0 Comment

374The new Interzone features contains stories by Jason Sanford (“The Ever-Dreaming Verdict of Plagues”), Mercurio D. Rivera (“Tethered”), Jon Ingold (“The Fall of the City of Silver”), Fiona Moore (“The Metaphor”) and Stephen Kotowych (“A Time for Raven”); art by Richard Wagner, Ben Baldwin, Jim Burns and Martin Hanford. There’s also the regular columns, Ansible Link by David Langford, Mutant Popcorn by Nick Lowe,  and Laser Fodder by Tony Lee; book reviews including an interview with Lavie Tidhar conducted by Maureen Kincaid Speller.

You can also download issue 230 for free, containing stories by Aliette de Bodard, Nina Allan, Lavie Tidhar , Patrick Samphire and Tim Lees.

In other news, Locus reports that the Amazing Stories trademark has been acquired, possibly for use as the title for an online magazine. This would be how many times the dead magazine has been resurrected? Although this time, a true resurrection, as it wouldn’t have a physical paper form.