The winners of the Romanian Galileo Awards 2012 (Premiile Galileo), voted by the subscribers of Galileo Science Fiction and Fantasy Magazine, were announced on Sunday. Here’s the list of the winners:
- Best F&SF Book Award (novel or short fiction collection published by a Romanian author in 2011): the novel DEMNET by DAN DOBOS, published by MediaTech in October 2011
- Best F&SF Short Fiction Award (short fiction published by a Romanian author in 2011): novella “POVESTEA LUI CALISTRAT HADIMBU DIN VIZIRENI, UCIS MISELESTE DE NENICUL RAUL COLENTINA INTR-UN HAN DE LA MARGINEA BUCURESTILOR” by MICHAEL HAULICA, first published in the STEAMPUNK: A DOUA REVOLUTIE anthology, edited by Adrian Craciun, Millennium Books, March 2011 (approximate translation of the title: „The story of Calistrat Hadimbu from Vizireni, cowardly killed by master Raul Colentina in an inn on the outskirts of Bucharest”)
- Best F&SF Anthology Award (an original anthology containing stories by Romanian authors, published in 2011): STEAMPUNK: A DOUA REVOLUTIE edited by ADRIAN CRACIUN, Millennium Books, March 2011 (translation of the title: STEAMPUNK: THE SECOND REVOLUTION)
In addition to the subscribers voted awards, the staff of Galileo Magazine and Millennium Books has also announced this year’s recipient of the Galileo Award for life-time achievement: Romanian writer LIVIU RADU, “for the extraordinary stories that he has given and that he keeps giving us”.
The Galileo Awards Ceremony will take place on March 18th, during the Final Frontier II Science Fiction and Fantasy Book Fair in Bucharest. Each of the winners will receive a cash prize of 500 lei and the Galileo trophy.
Here’s a link to the official announcement, on the Galileo Online page: http://revista-galileo.ro/premiile-galileo-2012-2/
The Romanian 2012 Galileo Award nominees have been announced:
“The Seasons” (Anotimpurile) by Bogdan-Tudor Bucheru (Millennium Books)
“Ink and Blood” (Cerneală și singe) by Ștefana Cristina Czeller (Millennium Books)
“DemNet” (DemNet) by Dan Doboș (Media-Tech)
“Chronicles from the End of the World” (Cronici de la capătul pămîntului) by Costi Gurgu (Millennium Books)
“Alone on Ormuza” (Singur pe Ormuza) by Liviu Radu (Millennium Books)
“Prophecies about the Past” (Profeţii despre trecut) by Aron Biro (Steampunk: A second revolution edited by Adrian Crăciun, Millennium Books)
“The Last Hourglass” (Ultima clepsidră) by Oliviu Crâznic (Steampunk: A second revolution edited by Adrian Crăciun, Millennium Books)
“The Southern Swamps” (Mlaştinile din sud) by Costi Gurgu (Chronicles from the End of the World, Millennium Books)
“The Black Fortress” (Cetatea neagră) by Costi Gurgu (Steampunk: A second revolution edited by Adrian Crăciun, Millennium Books)
“A trouble in the Wonderful Inand” (O hucă în minunatul Inand) by Michael Haulică (Galileo Magazine, issue 3)
“The Story of Calistrat Hadîmbu from Vizireni, foully murdered by Raul Colentina in a Bucharest’s outskirts inn” (Povestea lui Calistrat Hadîmbu din Vizireni, ucis mişeleşte de nenicul Raul Colentina într-un han de la marginea Bucureştilor) by Michael Haulică (Steampunk: A second revolution edited by Adrian Crăciun, Millennium Books)
“From Gipsies” (De la ţigani) by George Lazăr (Steampunk: A second revolution edited by Adrian Crăciun, Millennium Books)
“Steampunk: A Second Revolution” (Steampunk: A doua revoluție) edited by Adrian Crăciun (Millennium, 2011)
“Venus” (Venus) edited by Antuza Genescu (Eagle & SRSFF, 2011)
“The Dragon and the Ewe Lamb” (Balaurul și Miorița) edited by Mihail Grămescu (Eagle, 2011)
“Pangaea” (Pangaia) edited by SRSFF (Eagle & SRSFF, 2010)
“2011 Galileo Awards” (Premiile Galileo 2011) edited by Horia Nicola Ursu (Millennium, 2011)
Radu Romaniuc has written an extensive review of the Romanian steampunk anthology Steampunk: The Second Revolution, edited by Adrian Craciun.
So why is this book interesting? Well, it tries to align the Romanian fandom (which this book represents) with the bigger, and richer, Anglo-American fandom. We write Steampunk too, if that’s where the genre’s at. So say the Romanian writers, and the editor Adrian Craciun who selected the stories.
So let’s see how and what is in the Romanian Steampunk anthology…
The Editor’s Word. A Moment of Craziness by Adrian Craciun
“The first echoes were a bit… depressing. The first answer I got – from a woman author – was something like ‘The theme doesn’t appeal to me. Not in the least…’ I received worse. (But I’m not going to tell them.)”
The brief fore-foreword hints at the reluctance of the writers towards the theme. (I’ve had an online conversation with mr. Carciun where he mentioned he received a total of twenty-or-so submissions. It’s a bit of an ingrate mission to produce an anthology in these conditions.) But then the editor promises us he selected the stories that made it in the Table of Contents with our reading pleasure in mind.
Foreword. “To the boulevard, stoker! To the boulevard!…” by Stefan Ghidoveanu
This second foreword, written by a venerable and beloved member of the fandom, is not subtle anymore: this book had everything against it.
“First of all it’s the theme: steampunk… Pretty when it’s written or filmed by others, in places where steam machines, running warm water or buildings with more than ten floors existed since the second half of the XIXth Century…”
“Second of all […] As I made my way through the Romanian publishing system, more often than not I had to acknowledge that the Romanian authors can’t write on spec…”
“Third of all […] no anthology or multiple-authored collection in the last 20 years managed to live up to its expectation…”
But has the Steampunk anthology surpassed all these challenges? Stefan Ghidoveanu is enthusiastically convinced that it did, and we turn the page to the first story… – continue reading!
From Cristian Tamas (Romanian Science Fiction&Fantasy Society)
Established in the memory of Ion Hobana (1931-2011), a well known romanian scholar and SF writer, “one of Romania’s academic SF grandmasters (Romania’s greatest SF academic)” as Jonathan Cowie said, the yearly Ion Hobana Awards presented for the first time this year, had been granted by the Romanian Science Fiction & Fantasy Society and the Romanian Writers Union (Bucharest Branch) with the occasion of the Ion Hobana Colloquium, “The Time and Times of Fiction”, Bucharest, Romania, May 7th, 2011.
The winners are :
- Mircea Oprita : The Ion Hobana Award for Lifetime Achievement
- Cristian Mihail Teodorescu : The Ion Hobana Award for the best SF novel in 2010 (“SF Two”)
- Liviu Radu : The Ion Hobana Award for the Best Fantasy Novel in 2010 (“The World of Waldemar”)
- Bogdan Catalin Mereuta : The Ion Hobana Award for A Young Hope/Debut under 35 years (the recipient is 13 years old and he had succeded to publish in 2010 a SF novel, “The Virtual Warriors”)
The Ion Hobana Awards had been sponsored by the Romanian Ministry of Culture.
The Ion Hobana Award Winners
Horia Urso writes with the sad news of the Romanian author’s death:
Ion Hobana, the venerable “Dean of Romanian Science Fiction”, has passed away on Tuesday, February 22nd.
Born on January 25th 1931 in Sannicolaul Mare, near Timisoara, he was an alumnus of the University of Bucharest, with a thesis dedicated to science fiction literature, the first in Romania and one of the first in the world.
He was a writer, an journalist, an editor. He published 5 poetry collections and an YA novel before turning full time to science fiction. He first published a science fiction story in 1955, followed by a novella in 1957 and short story collections Oameni si stele (People and stars – 1963, reprinted with revised and amply augmented content as an e-book in January 2011), Un fel de spatiu (A kind of space – 1988) and Timp pentru dragoste (Time for love – 2009). He wrote a dramatic adaptation of H.G. Wells’ Invisible Man, presented several times on Romanian stages.
His stories have been translated in more than 20 countries. Stories Un fel de spaţiu (A kind of space) and Emisiune nocturnă (Night Broadcast, which won the Eurocon Award in Fayence in 1985) were included in international anthologies Twenty Houses of the Zodiac (New English Library, 1979), and The Penguin World Omnibus of Science Fiction (Penguin Books, 1986) respectively.
As a literary historian, he published many works on Jules Verne (he was one of the most reputable scholars in Verne’s work), French science fiction, H. G. Wells and the history of Romanian Science Fiction. His anthology Virsta de aur a anticipatiei romanesti (The golden age of Romanian Anticipation – 1969) was awarded the Europa Award, presented at the first Eurocon in Trieste in 1972.
As an editor of classic science fiction, he familiarised Romanian readers with the works of Edgar Allan Poe, Edmond About, Villiers de l’Isle-Adam, Mark Twain, J.H Rosny-Ainé, R.L. Stevenson, Emilio Salgari, Jack London, H.G. Wells, Maurice Renard, A. Conan-Doyle, Jan Weiss, Karinthy Frigyes, Felix Aderca, Stanislaw Lem, etc. He has translated tens of books from French and Italian, most notably eight of Jules Verne’s Voyages Extraordinaires.
He was a member of the Romanian Writers’ Union (he was the organization’s YA section’s president these last years), Societé Européenne de Culture, Centre International Jules Verne, H.G. Wells Society, Associazione Internazionale per gli Studi sulle Utopie.
His latest book, Peste o suta si o mie de ani (In a hundred and a thousand years – december 2010) was his magnum opus, a thorough study of French science fiction roots, from its origins to 1900.
He died in Bucharest on Tuesday, February 22nd 2011, after a long battle with cancer.
Romanian fans of science fiction are mourning his passing away. We’ve lost a great friend, a mentor and a brilliant mind.
Robert Silverberg wrote to me last night, upon finding out the terrible news: “I met Ion at – I think – the 1970 World SF Convention in Heidelberg and saw him at several other conventions in later years. He was a wise and thoughtful man.”
May he rest in peace!
Horia Nicola Ursu
Galileo Magazine / Millennium Books, Romania
Steampunk seems to be everywhere these days, from novels to short story anthologies in English. And a while back we reported on the first Brazilian anthology of steampunk. Now comes news of the first ever Romanian steampunk anthology!
Edited by Adrian Crăciun, the anthology will be published by Millennium Books in Romania and include stories from: Aron Biro, Oliviu Crâznic, Ștefana Czeller, Costi Gurgu, Michael Haulică, George Lazăr, Mircea Opriță, Florin Pîtea, Marian Truță și Ioana Vișan.
Awesome news! Let’s hope we get to see some of these translated soon – and can more non-English steampunk anthologies be in the works somewhere in the world?
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!
By Michael Haulica
Translated by Adriana Mosoiu
It was one of the most select restaurants of Time. Beyond Knot Pitt, marked on any chronotopic map of the Tourism Special Offices, one could enter a huge Gothic hallway with walls in massive rock having icy colours that iterative reverberated the chords of the famous adagio of the Solemn Mass.
Once gotten in here, every human, Tourist or Regular was welcome as an old friend by the stylish and courteous Ober, then walked into the saloon: to the Golden one, Silver, Blue, Mauve or even to the Black one, depending on his mood.
El-Eftis, a Regular, was ushered into the blue saloon.
The modular walls, feigning immensity, were engraved, in an apparent mess, with large sparkling saphyres. These walls supported the ceiling, whose vault had crystal spheres with delicate corellias gracefully rippling and becoming luminescent when someone was stopping by or just passing them.
Moldings in Brazilian rosewood in bud, covered with gold, were caressing with their light the mahogany panels, imperial version, blue-pearl, whose arabesques evoked the sensation of the Universal Genesis.
Here and there, embedded in the aggressive ironware (especially programmed to alleviate the inedia syndrome), the spherical fireplaces in metaglass – where there were smouldering the Kollodoc chicks illegally brought all the way from Galla – provided, through excruciating trills, a pleasant and lucrative environment.
According to some esoteric laws, the tables were spread on the petrified ebony floor, with their legs looking delicately arched under the burden of the panels in Kyonos marble. Around them, there were biomorph armchairs covered with impala leather. Luminescent flap doors indicated the places harbouring the clearing innocentias, some carnivorous plants extremely congenial, result of some genetic engineering experiment, abandoned at the end.
In the centre of the saloon, an oasis of verdure. Obviously, blue verdure: the hemocyanotic natives freed from Opallonia’s sands were showing this way their gratitude, through the artesian wells. These wells, by the clusters of ray of light thoroughly distributed, supported the dancers whose movements, no matter how clumsy and unwieldy, once reflected in the liquid mirrors with golden ivory frames became elegant and masterly.
But El-Eftis knew all that. He was the architect. The interior programmers did nothing but follow his indications and the restaurant erected magnificently, a perfect self-portrait. It was the material representation of his soul, made with an absolute honesty. No detail was overlooked. The general idea that each saloon was both part and whole of the ensemble expressed, as a matter of fact, the main principle of its interior structure.
Inside this space, El-Eftis was feeling as if he was inside himself.
Even the androids on duty were his creation: exact copies of personalities in vogue.
As a matter of fact, vogue was something established here, in this place. No one was a true star unless there was at least one waiter bearing his face. In order to get acquainted with the new looks of the personnel or to ensure the continuity of the old ones – status that called into play fabulous amounts of money, careers, lives – the restaurant was visited frequently, despite the exorbitant prices, by all those who thought they were stars. They would be stars or they had stars in their power: sportsmen, artists, programmers, politicians, businessmen or priests.
El-Eftis stopped within the floating space limit, programmed the table for one armchair and sat. The bluish aura of the corelia above, deeper around the tentacles, surrounded him with a warm light, sticking to his face, colouring him, integrating him to the saloon. He reached out for the menu and slowly browsed the real paper pages, with vignettes representing the plant or animal of which each food was made. He abandoned himself to the smell emitted by each page and tried to figure out what to order. Anacrodon gizzard, crusty xeres, staphylogenes wings – there were so many temptations. Not to mention the real delights promised by the artistically prepared salads of alms, phytohelees or morphostyls. And the sweets…the glazed lymphodocs…
He was pulled out of this olfactive delirium by the light and sound sign requesting his order and preference for the serving android. From the great number of culinary combinations, he chose the one having an indicative QI and then watched, on the table’s little screen, the folder containing the personnel available. He went for the beautiful Task Me, nicknamed The Persian Cat after the actress had the role of the scanner Oldernon’s adjutant in the series of polemographic movies that made collapse, at least partially, prejudices, myths and governments.
In spite of the purists and even in spite of the laws that banned the use for commercial purposes of everything that could have something to do with the fighting instinct of the human race, Polemography really gained millions of fans. It used to block the communication lines with their recording requests, only to be able to admire, in short sequences, a 38 bullet or the stock of a tank or in the most innocent movies, a fist tussle…
The firms that used to intermediate this trade established on the initial embarrassment of the solicitants had disappeared long ago, the records starting to be obtained by requests directly to the producers. Meanwhile, dozens, hundreds of clandestine magazines came out and the polemographic literature was printed in an impressive number of copies. The social phenomenon existed and the sociologists predicted essential changes in the society’s life.
The Final Ritual was taking place to a table next to his. The waiter, a copy of the psi-lifters’ absolute champion, was assisting his customer who, at the end of the feast, was smelling once again, as a recap, the Stimulant – the natural equivalent of the meals he just had.
A gentle tinkling announced the presence of three copies having the looks of Task Me. They lined up in front of El-Eftis, presenting him the trays with the ordered dishes.
On blue Kaloghera porcelain plates, whose edges were engraved with a game of golden sparse lines representing stylised helioplantooshes, the Stimulant was offered to him. He sniffed the component dishes one by one, performing the Initial Ritual. Then he made the first Sign. They could proceed.
The first Task Me put the crucible containing the Total Soup in front of him. Steams and flavours of all soups in the Acknowledged Universe were charmingly rising from the plate with Stimulant-soup. He started to eat without taking his eyes off the girl’s face.
Hubbub all over the saloon. El-Eftis was eating the Stimulant.
The Persian Cat was reciting famous lines from “Maceta, mon amour”. Lines that, by the images they evoked were supposed to react with the consumer’s gastric juices, increasing the Stimulant’s effect. At the end, she handed him the linen napkin having printed on it, with golden letter, the words: “enjoy today’s meal.”
El-Eftis made the second Sign.
The next Task Me put the crucible with mushrooms’ stew on the table.
All the customers in the saloon were staring at him in total stillness, as if they were dining in the garden with statues by Litowski, the sculptor who, embracing the Humanist Movement, initiated a real revolution in the art of those days, bringing the Man to the centre of attraction.
This time, the Cat was wearing the outfit from “Gone with the Bombardier”, one of the most expensive super-production of all Times. He was watching her, listening to her words, while the stew was melting and, when on the bottom of the plate were left only some sauce stains, he felt a violent impulse to lick his fingers, but he restrained.
The hubbub became general. He consumed the second Stimulant. The older clients, from the next tables, backed out ostentatiously. Behind them remained the words “more bearable, those polemographic ordeals” and “after all, how can a bazooka be more disgusting than this guy?”
“This guy” was wiping his lips with the napkin made of golden cassarg hair, having written with round letters “to eat is humanly”.
That was too much. Even the butler, an android with the always smiling smiting face of the Cofederation’s Regent, came to the same conclusion. And he saw a lot in his life. One night he even saw the real Task Me in an exquisite transparent outfit, tightly fitting her flawless body. To show that antiquity’s jewels were fashionable again, matching her hair and her eyes, that is blue, she was wearing a tiny Mitsuki chastity belt, sport version, with a tiny pistol…very tiny…but still a pistol.
And El-Eftis made the Third Sign…
The last Cat brought him a perfect orange. But he drew closer the plate with the humble and complex Stimulant-orange, a bit scrawny and without its well-known shiny skin. Obviously, that was the real thing! He reached out and grabbed it from the plate.
A bang was heard. At the second table on the left, a man fainted.
He peeled off the orange and ate it slowly, admiring the girl’s breasts, a bit loose, where two big green hands were painted, the hands with three fingers of the Nikenian man.
She was standing in front of him, naked and cyanided just like in “Gun Story”. Slowly, when the producers’ courage reached the acromany level, the viewers were offered a scene where, for ten seconds, a gorgeous and primitive machine-gun could be seen in the forefront.
He ate the orange very slowly. Then he picked up the pieces of skin and pressed them against his fingers, splashing himself with juice, perfuming his beard…
‘…he ate the Stimulant, Mister Manager!’
‘So what?’, answered the restaurant’s manager, the only human of all the staff. ‘Our customer is his own master! Can you deal with the customer’s preferences? Besides…he’s doing it on his own money, so…his money – our money!’
‘Yeah, but it’s immoral!’ concluded the butler, bearing the same smile.
Annoyed, the manager reached out a limp hand and dialled the Neurodome’s code. Doctor Maddock’s terminal-looking face appeared, crampy grinning. Probably, he took the call out of reflex. Obviously he was in a delicate position trying to hide behind him something that looked like the last issue of Play War magazine. Connected to several terminals, he was likely to work at the new experiments. The invention he announced, the bio-terminal, was more and more often mentioned in the scientific discouragement works published lately.
Briefly, he was informed of what just happened.
‘What? Natural food???’ Maddock jumped to the ceiling and then he scuttled away without disconnecting, without turning off the holophone, leaving the manager accompanied by the 12 Siamese cats that invaded his den, fighting to get a place in front of the keyboards.
Three minutes later, an ambulance pulled up abruptly in front of Knot Pitt. Two strapping fellows stepped out, followed at a certain distance by Maddock, who was still removing sockets, wires and hair from his head. They entered the saloon when El-Eftis was throwing on the table the napkin made of idiopter natural silk having embroided, between Forget-Me-Nots, the words “each gulp seems a goodbye” and he was starting to tell the three Task Me the dream where…
He didn’t get to say what happened in his dream. He was taken immediately to the clinic, his shape got worse from day to day and, after three months, El-Eftis died, as the first case of LAPINS recorded.
LAPINS (Low-Alimentation Pronounced Immune-Narcotic Syndrome) was a disease that worked havoc in the years ’40. It manifested by swallowing natural aliments, respectively the stimulants that accompany regular food, leading to death in maximum 6 months, despite all the efforts made in clinics to feed the patients with the most nutritive products of the bio-chemical plants from all over the planet.
From the present day perspective, the history of this disease has nothing spectacular. It could be represented by a mild curve, whose equation isn’t even worth being mentioned.
As they couldn’t give up the natural Stimulant (this would have resulted in an anabiotic propagation of the klisten in a hermanian way, leading to genetic mutations impossible to conceive, so considered catastrophic), the calamity of the century, as they used to call every new disease. The scientists got to work and, after a few years of intense research, they discovered the carrying agent: a virus spread by oneiric way. They called it hypnovirus.
A few years later, the EXONEIR was launched on the market. Just in time, because people, frightened, gave up sleep and dreams…becoming the bargain of the century, the EXONEIR ensured rest at an astronomical price. Without dreams, but who cared about that anymore?
That’s how the story ends. LAPINS, one of the diseases of the century.
No one even remembered it a few years later, when a dizzy and exhausted crowd, with sad faces, was marching in the streets, unifying their voices in the new generation’s song:
“Give dream a chance”
(c) Michael Haulica 2003, First published (in English) in SF Crowsnest, January 2004.
English version by Adriana Mosoiu
Michael Haulica is a Romanian writer and editor. He has published more than 50 stories and novelettes in Romanian SF and literary magazines. He has stories in many anthologies (among one in English, one in French), and an article in “New Weird”, edited by Ann&Jeff Vandermeer (published in English, Czech, and Romanian).
Now he is chief-editor of Millennium Books Publishing House, and editor-in-chief of Galileo Online (www.revista-galileo.ro).
– “Madia Mangalena”, 1999 – collected stories, “Vladimir Colin” award in 2000, Romcon (Romanian Science-fiction Convention) award in 2001
– “Despre singuratate si ingeri” (About Loneliness and Angels), 2001, collected stories, SIGMA 2002 award.
– “Asteptind-o pe Sara” (Waiting for Sara), 2005 (second edition 2006), novel
– “Nu sint guru” (I’m not the Guru), 2007, non-fiction
– “Povestiri fantastice” (Fantastic Stories), 2010
Romcon awards at SF National Convention:
– in 2001 for “best book” (“Madia Mangalena”) and for “best performance on the internet” (Lumi Virtuale Magazine).
– in 2003 for “best site” (www.geocities.com/lumivirtuale) and “best magazine” (Lumi Virtuale)
– in 2004 for “best magazine” (Lumi Virtuale) and “best journalist”
KULT award “Man of the year” in 2005
Stories published in SF Crowsnest, Redsine, Anotherealm, Antipodean SF, Aphelion, Biblioteka Alexandria, The Blotter, Double Dare Press, Distant Worlds, Ink Magazine, Megaera, Nave de palavras, Science Fiction, sf4you, Stick Your Neck Out, Tempest Dream, Wild and Whirling Words, Writing.com, Galaktika (Hungary), Terra Fantastica (Bulgaria), Taj Mahal Review (India), Science Fiction (Denmark), Via Galactica, (Croatia).
His works have been translated into English, Hungarian, Croatian, French, Bulgarian, Czech, Danish.
The Romanian Science Fiction&Fantasy Society (SRSFF) Awards 2010
Friday, November the 19th 2010, at the Gaudeamus International Book Fair (Bucharest, Romania), were awarded the SRSFF (Societatea Romana de Science Fiction si Fantasy) 2010 prizes.
These awards are meant to highlight the efforts of those who, during the year promoted and contributed to the romanian science fiction .
This year five awards were given as follows:
• Best author – Cristian Mihail Teodorescu
• Best artist – Alex Popescu
• Best translator – Mihai Dan Pavelescu
• Best journalist – Stefan Ghidoveanu
• Best publisher – Nemira Publishing Press
In SRSFF’s view, these awards represent the quality benchmarks of the romanian SF for the current year.
The jury was composed of Danut Ungureanu, Marian Truta, Feri Balin, Cristian Tamas and Sorin Camner.
One of the goals of the Romanian Society for Science Fiction and Fantasy is to recognize and support the values of the Romanian SF.
Therefore the SRSFF awards, by the end of each year, a series of awards to highlight and reward the efforts of those who have made significant contributions to the Romanian SF.
The first SRSFF Awards had been held on November 28, 2009 at Gaudeamus, the International Book Fair, in Bucharest, Romania.
Through these awards we want to cover as large an area of fandom activity. Therefore we will not only limit to the the awarding of literary productions. We are convinced that the SRSFF Awards are at the end of each year, a notable event for all fans of science fiction and fantasy in Romania.
The SRSFF Awards poster was created by the digital artist Alex Smith, whom we thank in particular. The design awards diplomas and trophies were made by Viorel Pîrligras, whom we thank very much.
In the editorial that opens the #1 Issue of Galileo Horia Nicola Ursu writes:
[…] a magazine is something alive, it expresses a certain moment, it is a part of the Zeitgeist.
Of the ten authors in the Table of Contents only three are Romanians. On the Fiction side, two Romanian short-stories, three translations. On the Non-fiction side the gap is wider, 1 to 4. And while most of the translated non-fiction, written by English-speaking authors, presents issues of (more or less) importance to recent culture of the English-speaking world, the Romanian article presents an overview of the career of an old writer. (About who’s career I read articles, I think, in every incarnation of a sf magazine in this country, since I was a kid… but I never managed to like any of his books.)
The two short-stories written by Romanian authors left me feeling like I was watching a stage-show improvised by old men who have lived in the middle of the woods. If you applaud at the end, big mistake, they’ll try to bow courteously and fall face down on the ground, and never get up again.
Or something like that.