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Short Fiction Roundup: Bull Spec

Short Fiction Roundup: Bull Spec

bullspec-01-page001-200x256There’s a new magazine devoted to speculative fiction with the unfortunate name of Bull Spec, which I hope for the sake of the editorial team does not become known as “BS” for short. I haven’t read any of the contents, though you can get a pdf version (there is a print edition as well)  Radiohead-fashion, i.e., pay what you want. Fiction  by C.S. Fuqua, Peter Wood, Natania Barron, Michael Jasper, with a serial graphic story by Mike Gallagher.

Its stated quarterly mission in exploring new fiction is: “Bring the best of speculative fiction with a focus on Durham-area authors and stories to a wide audience for shared discussion.” One critical comment: a particularly ugly website that looks like something coded in 1999.

A Quick Quote on “Pulps vs. Slicks”

A Quick Quote on “Pulps vs. Slicks”

As you read this, I’m in Atlanta to see my brother graduate from medical school. Which means that this is “time-bomb post” I put in the queue to automatically go off and post itself while I’m away. Which also means that I’m keeping this a bit short, as I don’t have the weekend to write up something more in-depth.

What I’ve decided to do instead is let somebody else do most of the work for me. I’m going to share a quote about the pulps that I came across when I was doing my research for my two posts about Frederick “Max Brand” Faust. This comes from Jon Tuska’s essay “Frederick Faust’s Western Fiction” from The Max Brand Compnaion (Greenwood, 1996). Tuska makes an interesting comparison between writing for the pulps and writing for the “slicks,” the glossy magazines that offered supposedly greater prestige for writers who could break into them. Tuska shows a reversal of how people view pulp literature vs. “mainstream” literature:

Both [Faust] and [his agent] Carl Brandt areed that the only way to cope with the depressed economy was for Faust to move into slick magazines which paid much better. Faust, studying the market, readily realized that restrictions in the slicks were more rigid and confining than they ever had been in the pulps. Writing for Western Story Magazine, he had to concern himself with such general notions as a pursuit plot, which [editor] Blackwell preferred, or delayed revelation. Writing for the slicks, he realized that the editors sought to dominate a contributor’s mind. Attitudes and ideas were everything. Beyond entertainment, which both pulp and slick fiction alike provided, slick fiction had to deliver an ideological message to readers which agreed with the editorial policies of the magazine and these were dictated by the advertisers and their agencies. Perhaps it is for this reason that so much of the slick fiction of the 1930s and 1940s had become hopelessly dated while pulp fiction from that same period still pulsates with imagination and iconoclasm. Ideology is time-bound.

In other words, take that Saturday Evening Post and Collier’s! Long live Black Mask, Weird Tales, and Astounding! (And Black Gate carrying on their legacy.)

See you next week.

Short Fiction Roundup: WLT

Short Fiction Roundup: WLT

may10coverWorld Literature Today (WLT), a publication of the University of Oklahoma, has an issue devoted to “International Science Fiction,” though a cursory review of the contributing authors makes it seem that “international” has a mostly eurocentric slant. In any event, you can read Kij Johnson’s story, “26 Monkeys, Also the Abyss,” as well as various non fiction pieces and a poem that have been posted on line.

Short Fiction Roundup: Serialization

Short Fiction Roundup: Serialization

apex-blogReturn with us now to those thrilling days of yesterday, when publishers employed serials as a way to keep reader interest in wondering what happens next.  Apex is presenting a 20 part serial of “Jesus and the Eightfold Path” by Lavie Tidhar.  You can start reading here.

On Reviewing

On Reviewing

sh_headJustina Robson’s review of Greer Gilman’s Cloud & Ashes in Strange Horizons struck a number of resonating chords for me. For one, her ambiguous feelings about reviewing echo my own. It’s not only wondering if you’re getting it right, it’s how one offhand sentence can be taken to mean something entirely more than what you intended. I, too, had my problems with Bold as Love (which you can read about here and here and here).

I also share with Robson that Gilman is undoubtedly an interesting and possibly profound writer, but it’s much too much work to appreciate it (“This brings us to the real doorstop of the collection, both in terms of page count and prose density. “A Crowd of Bone” by Greer Gillman invokes Celtic myth concerning…this is the longest story here; it is also the hardest to read… English majors who’ve ploughed through Beowulf in the original Old English may find the language fascinating. This English major found it tedious, and at one point just stopped reading it and went on to the next story. I did eventually go back to finish it, but still considered it rough going”).

Finally, I too struggle with balancing mixed feelings about books I actually like, or should like more, at certain levels, as, for instance, my review of Robson’s latest novel.

Adventures in Pulp Awesomeness: The Clayton Astounding

Adventures in Pulp Awesomeness: The Clayton Astounding

claytonOver at Dark Worlds, editor G.W. Thomas has completed the first of three planned reprints of the Clayton Astounding, the first incarnation of the grand old lady of science fiction.

Astounding changed its name to Analog in 1960 and continues to publish today, 80 years after its first issue hit the stands in January, 1930. In an era when most genre magazines last only a handfull of issues, that’s an incredible run.

During most of that time it’s been the single most important magazine in the field, discovering such names as Isaac Asimov, Robert Heinlein, A. E. van Vogt, and literally hundreds of others.

The first volume of this new series, The Clayton Astounding: Vagabonds of Space is 212 pages in paperback, and is now available at Lulu for $13.99.

This volume collects the best Space Opera from the Clayton years. According to Thomas, future volumes will include Out of the Dreadful Depths (undersea tales), Planetoids of Peril (stories set on moons, planets, and asteroids) and possibily “a book of space invaders, robots and mechanical enemies.” Yeah baby.

Here’s the description from Lulu:

Before John W. Campbell’s “Golden Age” (beginning in 1938) editor Harry Bates created an SF Pulp that was meant to entertain with stories of adventure and action in outer space and on far planets. This magazine has become known as “The Clayton Astounding” to delineate it from later incarnations. The first volume, VAGABONDS OF SPACE, represents the best Space Opera from the magazine’s first run of 1930-1933. Features stories by Harl Vincent, Edmond Hamilton, Anthony Gilmore, Sewell Peaslee Wright, Nat Schachner, Edwin K. Sloat and Jack Williamson. Each author is introduced with commentary by G. W. Thomas.

Fiction from an era when “space opera” meant sword fights in space with weird metal sticks.  All I need to know. You had me at “adventure and action in outer space and on far planets.”

Looking forward to the next volumes.

Short Fiction Beat: Online

Short Fiction Beat: Online

cw_42_600Over at Clarkesworld, stories by Gord Sellar and Matthew Kressel, plus an interview with Kij Johnson.  This cool cover by Georgi Markov is called “Retro Robots.”

Kind of makes you miss magazines that you could hold in your hand and leave out on your coffee table to display.

Short Fiction Review #18: Paradox-Final Issue

Short Fiction Review #18: Paradox-Final Issue

paradox-cover043It’s nothing new to hear that yet another print publication has gone the way of the dinosaurs.  Still, for those of us who retain affection for inked dead trees, it’s always a cheerless day to learn of yet another comet strike.

The latest victim is Paradox, Editor/Publisher Christopher Cevasco’s biannual magazine of  historical speculative fiction, which is now, well, history. After thirteen issues (read into the significance of the number what you will), Cevasco has retired the magazine effective with the Spring 2009 edition. Although he hints that an on-line version may arise from the ashes at some point, or that there may be a future Paradox-themed anthology, it would appear this is not going to be a Lance Armstrong/Bret Favre kind of retirement – Cevasco seems pretty adamant that this is it for the magazine.

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Black Gate Short Fiction Reviews

Black Gate Short Fiction Reviews

We at Tin House endeavor to widen the circle of lit. mag. readers, and to make extinct the preciousness and staid nature of journals past. That is our mission. Please lift your glasses in toast, and read on…

Thus proclaims the website for Tin House magazine, one of the more arch-literary venues to dip into the realms of the weird and fantastic in recent memory. Their thirty-third issue was devoted to “Fantastic Women” — a title guaranteed to attract the attention of Black Gate‘s resident short fiction guru, David Soyka. David braved the deep, unconventional, sometimes narratively challenged tales and found himself at turns frustratingly bewildered and pleasantly engaged. Some of the authoresses were new to him, others were old favorites.

So is the magazine ultimately worth investigating? And if so, which writers shined brightest in the Tin House literary starscape? Click on the link below and let David light the way.

READ THE ARTICLE