Black Gate

I’m currently in Washington Dulles airport, waiting for my connecting flight back to Chicago. I flew to Tampa on Friday to help my parents, who snowbird in Florida every winter, to pack up and return to Canada a month early. They weren’t happy about it, but given the rate COVID-19 is upending things around the globe, they didn’t have much choice.

Mission Accomplished. But because of flight cancellations, I’m stuck in Dulles with an 11-hour layover before I can get home. Thank God for Locus magazine, which I grabbed on my way out the door on Friday. As usual, the March 2020 issue is packed with reviews, columns, photos and articles of keen interest to science fiction and fantasy readers. There’s even an excerpt from Kit Rocha’s upcoming Tor novel Deal With the Devil. But the feature that I found most fascinating was the interview with Nina Allen, author of The Rift and The Dollmaker. She talks about Doctor Who, Vladimir Nabokov, and Graham Joyce, and delivers perhaps the most on-point description of writing a novel I’ve ever read:

That’s what writing should entail — the fear and the terror and the joy of knowing that this problem is solvable, and there is only one person who can solve it, and it’s me…. I am in competition primarily with myself, because other writers’ talent should be nothing but a joy. When I see writers doing well and being better than me, that’s a joy and a goad and a challenge — not in any way negative. It’s wonderful. Nothing pleases me more than seeing people write brilliantly.

The March 2020 issue of Locus is still available at finer bookstores, and on the Locus website. Individual copies are $8.99. If you haven’t tried the magazine yet, you don’t know what you’re missing. Check it out.

Eccentric stories stick with me better than classifiable ones. Robert Heinlein’s great time travel piece, “All You Zombies,” for example, was eccentric within the category of time travel stories, so much so that it felt like an outlier. It didn’t fit. Even now, where time travel as a premise is way more prevalent, “All You Zombies” startles.

I like teaching that story to high schoolers. It’s a great in-class science fiction IQ piece. I have them read it silently. The kids who can do the sideways thinking that the best science fiction asks of us all gasp at the same place in the story (really! They react physically). They want to turn around in their seats to talk to a neighbor. “Do you get it?” they ask. “What a mind trip!”

Here’s a one-question quiz to test whether a first time reader of “All You Zombies” understood the story: What do the bartender, the unwed mother, the city slicker and Jane have in common?

The eccentric stuff is better. Harlan Ellison’s “Croatoan,” Connie Willis’s Lincoln’s Dreams, Kelly Link’s “The Faery Handbag,” Neil Gaiman’s Neverwhere, and just about anything by Howard Waldrop are hard to lump in with their peers.

So, when I want a straight dose of the eccentric, the memorable, I often turn to a small-press magazine, the Hugo finalist Abyss & Apex, edited by Wendy S. Delmater.

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Cover by Elinor Mavor

Coming in after Asimov’s, Amazing Stories is a svelte 130 pages. One thing that really stood out to me in this issue was that almost everyone in it was a novice writer — many of the stories were first sales. It isn’t the ‘theme’ of the magazine, or of this issue or anything, but it is a thing I noticed. There is something refreshing about a quality amateur story, a certain unpolished plunging-ahead that can sweep the reader along.

That said, there are some of the stories that are, honestly, not that good. Others have said it better, but if you had picked up this issue back in the day (or pretty much any day), and thought to yourself “Hell, I could do this!”, you’d be right.

Here’s a look at the contents.

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