This month we’ll bring you the first column by our Bureau Head for the UAE, Arafaat Ali Khan.
You can also look forward to several articles about Hungarian genre fiction, interviews with Jean-Claude Dunyach and Alberto Cola, Val’s review of Tesseracts 14, and more.
Looking forward to hearing from you,
Val Grimm, Editor-in-Chief
Elizabeth A. Allen, Editor
Tenth Orbit and Other Faraway Places is a single-author collection by Argentine writer Gustavo Bondoni, put out by the small press Altered Dimensions and available in paperback and ebook editions. The twenty-two stories comprising this volume are primarily idea-driven science fiction. According to the author, all were originally written in English, rather than having been translated. I believe at least some of the stories were previously published, but there is neither publication history nor individual copyright date for any of them. I would have liked to trace the development of Bondoni’s writing style chronologically, but was unable to do so.
Sci-fi shorts, I admit, are not my best subject, but I took the reviewer position to familiarize myself more with today’s up and coming science fiction authors. Asimov’s Science Fiction is one of the leading science fiction magazines in the market, and the selection they choose is said to be the best of in the short story market. Of course, many names are collected in this volume. The highlighted author of this issue is Paul McAuley’s novella “The Choice;” his latest book is the recently-published sci-fi thriller Cowboy Angels. Other rising stars and sci-fi veterans in this issue include contributions from Aliette de Bodard, David Ira Cleary, and Jane Yolen. This issue has been a solid introduction for me as a science fiction reader, and it provides a range of different subgenres and styles. While I didn’t 100% enjoy every single story in this issue, I was never bored by the stories and the issue as a whole had enough of an interesting selection to have me keep reading.
This week we’re offering up links about Chosen Ones, an interesting blog by a Locus short fiction reviewer, new (amusing) terms for sf criticism, sf in Romania, zombies and what people have done with them, “The Secret Feminist Cabal”, what the hell is mythpunk, toxic language, toxic architecture, and belief and imagination. Continue reading
Apex Book Company, publishers of The Apex Book of World SF and the forthcoming Apex Book of World SF 2, are currently running a special offer wherein many of their books will be available signed, and all orders of paper books will come with a free e-book edition. While we are unable to provide signed copies of The Apex Book of World SF, we’re working on a special special promotion, which I hope we’ll announce next week! Please consider ordering directly from Apex to support this excellent independent publisher.
Apart from The Apex Book of World SF, you could try WSB editor Lavie Tidhar‘s An Occupation of Angels or HebrewPunk, the remarkable horror & religion anthology Dark Faith, or pre-order Nick Mamatas‘ (editor of the Haikasoru line of Japanese SF novels) forthcoming book for writers, Starve Better. Or many other fine books!
Please consider picking up some great books, and supporting our great publisher in the process!
Our friends at the Concatenation web site have recently posted Science Fiction in Romania since the 1990 revolution, a continuation of an earlier article, A brief history of Science Fiction in Romania up to 1990:
The fall of the Iron Wall (Curtain) across Europe in 1990, which included the Romania revolution, affected all of Romanian society including its SF community.
The main trends of the Romanian SF community in the last decade of the 20th and the first of the 21st centuries was that a number of the fans within the SF movement gradually gafiated (gafia: got-away-from-it-all), while the writers became editors in publishing houses, or worked in radio and TV stations and also on mainstream cultural periodicals where they started promoting SF, or turned professional and became members of the Romanian Writers Union. Meanwhile the fall of the Iron Wall also enabled Eastern and Western European writers and fans to travel.
Forging international links after 1990
And so, in 1993 a major, largely state-sponsored expedition of some 75 fans and writers made the long journey to Jersey (Channel Isles) for the 1993 Eurocon. This was the largest group of the Romanian community to travel to a foreign SF convention and is a Romanian record that remains unbroken to this day. This visit also served to promote the following year’s Eurocon that was to be held in Timisoara, Romania.
Romania first Eurocon in Timisoara, was held 26th-29th of May, 1994. It was a significant event, attended by several hundreds of people. Guests of Honour (GoHs) included John Brunner (UK), Herbert Franke (Austria), Joe Haldeman (US), Moebius (France), Norman Spinrad (US), Peter Cuczka (Hungary). Special guests were Jack Cohen (UK), Jonathan Cowie (UK), Gay Haldeman (US), Bridget Wilkinson (UK), Lee Wood (US) and Science Fact & Science Fiction Concatenation a Eurocon Award); two ((1995 and 2000) sponsored visits of Romanian fans to major SF events in Great Britain, two visits (1996 and 1997) of British fans to Romania; and two International Weeks of Science and Science Fiction held in Timisoara (1999 and 2003) complete with internationally renowned GoHs, nationally known writers and fan GoHs.
Both International Weeks of Science and Science Fiction were organised in cooperation with H. G. Wells Society (Timisoara) as well as by those (in both the UK and Romania) involved in the aforementioned Anglo-Romanian Exchange. The first (1999) International Week coincided with a solar eclipse. Robert Sheckley (US) was the Guest of Honour, Tony Chester (England) was Fan Guest. The second, in May 2003, was even more international with fans from Hungary as well as Spain and, as previously, the Great Britain. Writer Istvan Nemere (Hungary) was meant to be the Eastern European Guest of Honour but, sadly, ill health prevented his attending (he was represented instead by the Fortean academic Mandic Gyorgy). Danut Ungureanu (Romania) was the host nation Guest of Honour. Ian Watson (Great Britain) was the western Guest of Honour who also adopted the role of H. G. Wells as the event’s Ghost of Honour. Scot and Worldcon organiser Vince Docherty was the Fan GoH while writer Roberto Quaglia (Italy) reprised his 1999 role as Toastmaster. This 2003 event also attracted significant coverage in regional and national newspapers, radio and TV. Both International Weeks included a day and an open public event in the nearby town of Jimbolia and a reception by its mayor. – continue reading!
Stories should have a link of some sort to Singapore.
These guidelines are for the speculative fiction sampler. Submissions are currently open.
PLEASE READ CAREFULLY
Submitted entries MUST:
- be between 2,000 to 6,500 words
- be speculative fiction– fiction that largely contains elements of science fiction, fantasy, horror, alternate history/reality, and related genres.
- be primarily written in (UK) English
- be authored by Singaporeans or residents of Singapore (not necessarily PRs).
- The theme for this anthology is “HYBRID“. Submissions should be constructed around this theme, but the theme is open to individual author’s interpretation. The hybrid in question could be a biological hybrid, technological hybrid, cultural hybrid, thematic hybrid etc.
- We would strongly prefer that submissions be linked to something Singaporean, whether in terms of setting, character, or themes inspired by life in Singapore e.g. overcrowding on public transport, etc.
- We will be accepting submissions between the 1st January 2011 and 30th April 2011.
- Submissions should be emailed to firstname.lastname@example.org, with “Singaporean Spec-Fic Sampler Submission” and the author’s name in the subject.
- Submissions should be typeset in 12-point Courier New or Times New Roman, double-spaced, and saved in Rich Text (.rtf) or Word document (.doc) formats. All submissions should include title, author’s name, and byline (if applicable).
- Each person is allowed up to three submissions. But only a maximum of one submission will be included in the anthology.
- We accept reprints of previously published stories, as long as the author has retained the rights.
- The response time for submissions is 30 days. If you have not heard from us 30 days after sending in your submissions, send a query to email@example.com–we may have overlooked your email. No priority will be given to queries sent in before the response time is up.
- We will contact all authors with the results of our decisions by the 31st of May, whether or not their submission has been accepted.
- All submissions chosen for the anthology may be edited.
- The editors reserve the right to reject submissions based on inappropriate content, including (but not limited to) excessively graphic sex & violence, and disrespect towards individuals, groups, cultures and religions.
- No remuneration will be paid for accepted submissions–the primary purpose of this anthology is just to provide exposure for Singaporean speculative fiction. Royalties earned from publication, if any, will be split between the authors.
- Authors will retain both copyright and publishing rights over their submissions.
Lady Churchill’s Rosebud Wristlet (LCRW) is a ‘zine that Small Beer Press has published for ages now (in ‘zine time at least, the first issue is dated November 1996), and has a reputation for strange, original fiction that bulges well out of the corset of genre. For a long time it was a quarterly. Now it is, alas, biannual, but for a happy reason. Editors Gavin Grant and Kelly Link now have a baby girl. LCRW is a founding publication in the variously-named zone known as slipstream or interstitial fiction. Both editors are writers as well, Kelly Link being the more widely known, and both are former co-editors of the Datlow fantasy and horror annual Best-Of collections. Readers of the Datlow anthologies might recognize some elements in the ‘zine’s fiction, but LCRW focuses on shorter work and is freer in the style and tone of pieces it publishes. Since LCRW is their own, Gavin and Kelly can publish whatever the hell they want, and they do, and it’s great (usually). The unpredictability is part of what makes LCRW a ‘zine, and not something more commercial. In the larger context of the field, the editors have built a reputation for knowing quality when they see it, and for encouraging new talent. Those who publish in LCRW know they will be read by the Best Of editors, for example. At the same time, as a reader, you can expect to find gems by people you’ve never heard of, because that has been a part of the soul of LCRW since the beginning.