My latest Short Fiction Treasures column is at Strange Horizons and this time the theme is "epistolary fiction".
June 27, 2022
June 16, 2022
BEHIND THE ZINES with Maria Schrater - Assistant Poetry & Fiction Editor, and Submissions Reader at APPARITION LIT
This month’s Behind the Zines interview features Maria Schrater. She is an assistant poetry and fiction editor, and a submissions reader at Apparition Lit. I am so grateful to get a chance to talk to her about her work at the zine!
More about Maria Schrater:
Maria Schrater is a writer & poet living with two spoiled cats and dozens of menacing pigeons. Her work has appeared in Sycorax Journal and in Air & Nothingness Press’s Wild Hunt and Future Perfect in Past Tense anthologies. She is also an associate editor for Apparition Literary Magazine. When not writing, she can be found imitating bird calls in the woods.
Each Behind the Zines interview is first published on my Patreon, and later here
at Maria's Reading.
Q. Tell us a bit about yourself. What’s your background,
where did you grow up, and what do you do outside the world of speculative
Maria Schrater: I’m originally from Minnesota, mostly in the
Twin Cities, and moved to Chicago for college – then stayed. I’m the oldest of
five children, which definitely had an impact, I feel like I can be very
classic Oldest Sister and I tend to root for oldest kids in books, media, and
so on (imagine my deep 6-year-old frown of disdain when reading Grimm’s
fairytales and seeing only the youngest succeed). My maternal grandmother is
from Japan, so we had Japanese art, food, toys, etc. growing up – my favorite
times of year were when Obahchan would send us candies from her trips to Tokyo.
Outside of speculative fiction, I have a full-time job, and I have two cats and
a puppy that take up most of my free time. I’m also obsessed with birds and
Q. What attracted you to the speculative fiction genre
initially - as a child or young adult (or adult)? Were there any particular
stories, books, movies, TV-shows, or something else that sucked you into the
world of speculative fiction?
MS: I was a very early and voracious reader, and my parents
had a rule that I could read just about anything on our bookshelves – but it
was authors like Dostoevsky, Tolkien, Homer, and the Brontës, along with the
occasional Magic Tree House. Once I graduated from Chicka Chicka Boom
Boom it was either those Usborne science books or Lord of the Rings;
there wasn’t much in-between those levels. Besides that, my media intake was
restricted: I grew up without TV, didn’t watch a lot of movies, library books
had to be approved by my mother, and my parents pushed me to read “above my
grade.” I was also homeschooled until 6th grade. Chronicles of Narnia
and Lord of the Rings were what really brought me into genre fiction,
especially LOTR. I must’ve read the trilogy ten times during middle school.
Everything since then has only whetted my appetite.
Q. Apparition Lit has been around since 2018,
publishing some outstanding speculative fiction and speculative poetry. You
have a few different roles at Apparition Lit: Assistant Poetry & Fiction
Editor, and Submissions Reader. Can you tell us a bit about each of these roles
and what’s involved for you in your work at the zine? What are some of your
favourite things about the work you do at Apparition Lit?
MS: I originally started as a submissions reader in 2020,
and that still makes up the majority of my role. I sometimes read for our
monthly flash fiction contest, but it’s mostly for the quarterly issues. I have
some background in poetry, and we get less poetry submissions, so I try to read
pretty much all of the poetry we get – and choosing what to hold gets harder
every issue! When reading submissions, I make a choice on whether to reject a
story – maybe it needs a few more passes, the beginning’s too long, or so on –
whether to get a second set of eyes on it because I see promise, or if I’m
going to put a long string of exclamation points in the comment box like take
When we’ve chosen which poems are going into the latest
issue, another editor and I work with the author on any tweaks. Poetry is such
a delicate thing to edit because you have to take into account the rhythms, the
length and shape of the lines, the flow of the piece: even changing a word can
sometimes change the whole meaning, so I’m extremely surgical about it. I also
sometimes do the audio versions of stories if our authors decline to do it
One of my favorite things every issue is when all the
editors read through the stories on hold and leave their comments. At that
point, we’ve narrowed the field down to some stellar stories that fit our
theme, and I can start to put the issue together in my mind. I’m also very
argumentative so I love pitching why we should take a particular story, though
as an assistant editor, I don’t get to vote in the final meeting.
Q. How did you get involved with Apparition Lit? And did
you have any hopes or worries before you started as to your own work and/or the
fate of the zine? How has the actual work, and the situation for the zine,
turned out compared to what you expected?
MS: I was just getting into the writing community on
Twitter, and I happened to see that Apparition put out a call for
volunteer submission readers and threw my hat into the ring. I wasn’t familiar
with their work before then, but I read their latest issue and loved what I
saw, and I was so excited when they invited me to join. I was hoping to learn
more about editing, more about the industry, more about the craft, and make
some connections – and everyone at Apparition is brilliant and kind and
lovely, and I adore all our guest editors!!
Getting into it, I wasn’t sure what the workload would be, and
that work has certainly grown over the last few years as we get more
submissions. Still, it’s a bit of choosing how intensely you want to go at it:
I read a ton for our latest issue, but the issue before that, I wasn’t
in the slush as much as some of my fellows. Apparition is wonderful
about offering the junior editors & submissions readers opportunities.
Q. What have you learned since you started at Apparition
Lit, and what are some of the most enjoyable things vs. the hardest things
about what you do?
MS: My critical eye has sharpened immensely since starting
with Apparition. My first quarter, I read pretty much every story I
picked in the slush from beginning to end, just to make sure I wasn’t missing
anything. The problem with that is, if you’re waiting to get to the end to see
if the story is any good, it needs more work. Plus, it takes forever.
I’m still pretty generous with how far I’ll read into a story that’s not quite
grabbing me, because I think all sorts of things can affect an editor – mood, sleep,
weather, biases (hard sci-fi is just not my thing), but I have a much better
idea of what kind of work a story needs and if it’ll make the cut.
Rejecting stories is, of course, one of the hardest things I
have to do! We get so many great stories but being great isn’t always enough;
it must fit our theme as well. There are stories I love that I’ve turned inside
out and backwards looking for an interpretation of our theme and just didn’t
One of the most enjoyable things I can do is mark a story
with a Hold. In our spreadsheet, it immediately highlights orange, like a
shining lighthouse beacon beckoning to the other editors: read me next! I’m
amazing! I also love working with our poets on edits, and our group call
before each issue starts, where we discuss the theme and get to catch up a
little bit. I’ve yet to meet any of the other editors in person but the energy
through the call is palpable!
Q. You read both poetry and fiction for Apparition Lit.
What do you look for in a poem or a story when you’re going through the
submission pile for the zine? And is there any advice you would give to writers
wanting to submit stories or poetry to Apparition Lit or any other zine?
MS: Language and rhythm are so important to me, in prose and
poetry. I want to feel that momentum pulling me along – I’m much more forgiving
than some of the other editors on pieces that need to be tightened or the
beginning is too long if the prose and imagery is pulling me in. We also look
for speculative elements to be present early in the piece – if the twist is
that it was aliens or magic all along, and that twist happens on page ten, it’s
likely not for us. I love strong character voices, worldbuilding concepts, and
visual language. A great character or plot tension will get you farther than
interesting worldbuilding, though.
For poetry, I want vivid, unusual imagery. Build me an
intense mindscape, build me an emotional journey! I love narrative in poetry as
well. If there’s a lot of lists, or if the spec element is mostly in metaphor,
it’s probably not for me. I’m open to forms like sonnets, etc., but I think
English is a particularly difficult language to rhyme in, and I will be
checking your meter! Fair warning, though, other editors at Apparition are much
harder to sell on form and rhyme.
Q. Do you have any thoughts on the interest in, and
attention paid to, speculative fiction vs. speculative poetry, among readers
and more generally in the “world” of speculative fiction publishing?
MS: I see a lot of magazines that focus only on speculative
fiction and don’t take poetry, or take poetry in smaller increments than prose
(which Apparition also does). I also think the readership for spec
poetry is lower. My sense is that sometimes people find speculative poetry
intimidating or feel like they don’t have the chops to write or read or edit it
– and it is certainly a skill and requires a different way of thinking, but why
should that keep you from trying? We certainly get poetry that I don’t feel
equipped to understand, and I’m always trying to get better. In general, I
think everyone should be more exposed to poetry – if you haven’t found a style
or genre you enjoy yet, it’s definitely out there.
Q. What are some of your favourite pieces of fiction and/
or poetry published in Apparition Lit? Do you have any favourite
MS: I am so proud of everything Apparition has
published!! It’s impossible to pick favorites. However, there’s something
incredible about being the first person to read a story in the slush pile,
write a glowing note about it, see it move to the shortlist, and from there be
chosen for publication. It’s total luck of the draw at Apparition what stories
you’ll wind up reading – I tend to move chronologically from when they were
submitted, though I think some of my fellow editors skip around by title or
have other methods. Some pieces I discovered were Six Steps to Become a
Saint by Avi Burton, The Godmaker’s Cure by December Cuccaro, and träumerei
by Ewen Ma, among others.
Q. Has being involved behind the scenes affected your
view of the business of genre fiction publishing, compared to your perspective
before? Have you gained any insights you didn’t previously have? And has being
involved behind the zines changed your own writing, or how you think about your
MS: I now personally understand the agony of loving a piece
and not being able to publish it, whether it’s not on theme for our issue, too
similar to another piece, or just doesn’t hit the other editors in the same
way, or a million other reasons. There’s a difference between hearing that
rejections aren’t just about quality as a writer, and then actually being on
the other side of that. I think it also gives me an appreciation for just how
much work goes into these magazines, and what labors of love they are. Support
your short fiction magazines if you can!!
As far as my own writing, I’ve touched on it in other
answers, but it’s definitely helped me level up my own work. I’m much more
comfortable writing long-form, but through the sheer volume of reading I’ve
done, I’ve learned a lot about structure, pacing, and so on for shorter work.
Flash writers, I don’t know how you do it. It’s still a mystery. I also learn
so much from the poets who submit, in their gorgeous use of language and form.
Q. For writers and readers out there who might be
thinking about getting involved with a zine in any capacity, what would you say
to them? Do you have any tips and / or advice (or warnings!)?
MS: Do it!!!! We always need more paying magazines, and
extra hands to hold them up. No matter which role you take you’ll learn so much
about the way short fiction markets function and read some spectacular work. I
usually see a few calls for submissions readers every year, but there are also
experts who are willing to discuss launching your own zine. I’ve also found
that it helps me spot problem areas in my own writing: why’s a hook not
grabbing me? Where does the story actually start (because it’s often not on the
first page)? How can I write better dialogue? Reading hundreds of stories with
a critical eye is hard work, but there’s few better ways to learn. My tip would
be not to overextend yourself, because I often do that. Longevity in the field
is important, but it’s something that has to be planned for. You never know how
many submissions you’ll get in a particular period, so pacing yourself and
scheduling more time than you think you’ll need for tasks are a must.
Q. You’re a writer of speculative fiction and poetry as
well. What’s up next for you as a writer?
MS: I’ve gotten off to a slower start to this year than I
would like, thanks to a number of things in my personal life. I’ll have a
nonfiction essay out in Apparition’s Omen issue. Other than that, I’m
still submitting short fiction & poetry, and in the last stages before I
start querying a novel for the first time! I lurk on Twitter @MariaSchrater.
Huge thanks to Maria for doing this interview. ❤
out more about Maria Schrater on her website mariaschrater.com.
out Apparition Lit at ApparitionLit.com!
June 8, 2022
The art for this roundup includes a detail of "Bioluminescence" by Yu Ying which is the cover for Anathema #15. Read more about the art and the artist at http://www.anathemamag.com/bioluminescence.
An audio version of this roundup is available on YouTube:
Skinder's Veil by Kelly Link in the anthology When
Things Get Dark
My first two story picks for this month come from When Things Get Dark, a fantastic horror anthology, edited by Ellen Datlow, with stories inspired by, and in tribute to, the works of Shirley Jackson. It is full of dark, weird, disturbing, and unsettling stories. Like the blurb for the anthology says:
A collection of new and exclusive short stories inspired by, and in tribute to, Shirley Jackson.
Shirley Jackson is a seminal writer of horror and mystery fiction, whose legacy resonates globally today. Chilling, human, poignant and strange, her stories have inspired a generation of writers and readers.
This anthology, edited by legendary horror editor Ellen Datlow, will bring together today’s leading horror writers to offer their own personal tribute to the work of Shirley Jackson.
Featuring Joyce Carol Oates, Josh Malerman, Carmen Maria Machado, Paul Tremblay, Richard Kadrey, Stephen Graham Jones, Elizabeth Hand, Kelly Link, Cassandra Khaw, Karen Heuler, Benjamin Percy, John Langan, Laird Barron, Jeffrey Ford, M. Rickert, Seanan McGuire, Gemma Files, and Genevieve Valentine.
Link's story "Skinder's Veil" made me need to go have a
lie-down after I read it. Both because it's so damn good, and because of the
vivid strangeness of it all. This is a haunted house story, but not really. Maybe more like a haunted life story? Anyway, it is a knockout story. A man goes to a secluded house out in the sticks to
help out a friend who has been housesitting there for a long while. There are
several very strict rules about what to do and not do while in the house, and
several very strange visitors come calling while he's there, telling very strange tales.
Tiptoe by Laird Barron in the anthology When
Things Get Dark
This is another one of my favourite stories from the anthology. It's a masterfully crafted slow-burn of a horror story where I
kept having the feeling that there were things twisting and distorting just out of view as I was reading it. A man is recounting his childhood, and his memories of his family - in
particular his father. There was nothing wrong with his childhood, he says. Nothing bad
really happened... or did it? (Spoilers: something was really, really wrong.) I love the way childhood memories are dealt with in this story: there are the memories we actively remember and talk about with others because they are the "official version" of our childhood, and there are the actual, raw memories of things we might forget or almost forget because they don't fit into polite conversation.
Drowned Best Friend by Dominique Dickey in Fantasy
There is this cloud of silence that comes with death, I think—no one wants to talk to the bereaved for fear of saying the wrong thing. People say, “I’m sorry for your loss,” and not much else. Four years later, that cloud still hangs around me, and it’s partly my own fault. I talk about Lesley too much, and as if she were still here—except for me, she is.
There is a similarly silent fog hanging around transition—the effect of people not knowing what to say.
Joseph is haunted, or maybe visited is a better word, by his dead best friend Les. Les died on the lake when they were both 12, and appears when there's water around: mostly at Joseph's house, still dripping wet, just like when she drowned. Since Les died, things have been difficult for Joseph. Not only because of Les's death, but because he has come out as trans to his mom and everyone at school, but he is trying his best to navigate through it. This story does so many things so very well all at once. It captures the mortifying awkwardness and over-confidence of being a teen, and it delves deep into grief and guilt and the terrible struggle to try to not just become and be who you really are, but to find out what and who that is. And the gentle way it deals with what it's like to be a 12 year old ghost, stuck forever in being 12 and dead, is both tender and sharp.
One Day the Cave Will Be Empty by K.J. Chien in
The lantern catches Pearl’s two black eyes, ringed by gold, so they shine predatorial in the dark. And when Pearl’s thin human lips turn up into a smile, her small, barbed teeth glint.
A shiver whips down Li Shing’s spine as she folds her hands in her lap, careful to hide how they shake. Even after all this time, she is still afraid.
“Our bao bei,” says Li Shing, less for Pearl and more to remind herself. “Our sweet girl.”
I LOVE stories that put a different spin on
motherhood and parenthood than the norm, exploring the darker sides of being a parent, and this story does that brilliantly.
Li Shing thinks she gave birth to a monster, and maybe she did, though her
husband doesn't seem to see it the same way. The parents have hidden their daughter in a nearby cave since she was born, but it's been 19 years and now things are
changing--in the cave, and in their village. I love everything about this story, but especially how it explores
Li Shing's feelings of failure and guilt and shame. I also love how Chien twists all those feelings, and Li Shing's expectations, in an
Too Little, Too Little, Too Much by John Wiswell in CossMass Infinities
“Lark’s whole body seizes up and he begs the flame to go away. It grows taller instead, turning soft fabric into fire.”
Wiswell's story is marvelous and devastating, quietly aching and viscerally raw. Two brothers, Lark and Brantley, live with their father. Each brother has a “thing they do”. Lark's thing is the fire that snaps into existence from his body when he is upset, and Brantley’s thing is hurting Lark. It is not a good combination, and it's made worse by the abuse perpetrated by their father. That abuse is mostly alluded to, and mostly takes place out of sight, but it is harrowing all the same. Wiswell has such a tender touch with the brothers here, laying bare the hurt and the pain in their relationship and finding a difficult way for them to, maybe, survive, together.
A Monster In the Shape of a Boy by Hannah Yang in
When Peng opens the door, he finds himself face to face with a boy who looks exactly like himself.
The other Peng stands in the doorway, as though surprised to have been caught. Two eyes peering out from the dark. Fluffy black hair, messy enough to stand up in every direction. Ruddy cheeks and scraped elbows.
It’s him. But it isn’t.
A perfectly constructed and intricately tied knot of a
horror tale about monsters, and about a boy becoming a monster hunter. Peng is
learning the trade of monster hunting from his father, but the monsters he
meets take on shapes and forms that make it very hard to kill them. This story bites
hard at the end.
Hoodie by Tonya Liburd in Apex Magazine
“A hoodie is what a Soucouyant give birth to when she trick a Midnight Robber.”
Or so Rose calls herself.
Passed off to orphanages. No idea who her mother and father were.
In Liburd’s story, we follow Rose who grows up in a Trinidad orphanage, not knowing who her parents are. She sings in the streets to make money, and one day on a lonely dirt road, she encounters a Moco Jumbie. Rose expects this encounter to be the end of her, but that is not what happens. Liburd’s writing pulls you in from the first line and goes deep into Rose’s fear and pain without reducing her to someone helpless. Rose has been dealt a bad hand in life, perhaps, but she finds a way to survive and maybe even shed the pain she's struggled with her whole life. It's a powerful, visceral story that packs a real emotional punch.
In the Water by Rowan Wren in Nightmare
She is alive again, in a way. An almost-there ghost life. The river’s water fills her in new ways, shifts her death into something else. It didn’t save her—nothing could. But it gave her something that’s good enough.
A beautiful, lyrical story about a dead girl floating in the river, being changed by death and water into something else, something new. I love how this story does not focus on the murder or the murderers, but rather on the girl herself. Commenting on the story, Wren says, "As a fan of true crime, I’ve thought a lot about how death is consumed, the dead often reduced to props in their own story. I wrote “In the Water” to explore that same loss from the perspective of the victim, returning some autonomy while maintaining the truth of death’s passive nature."
Destination Star by Gregory Marlow in Strange Horizons
Ben had only visited the Star Room three times in his life. The first time was in the third grade. Each person in his class received a token for their field trip. His teachers spent weeks preparing them for the room, showing pictures and videos about what a star was, explaining that the light on the dome ceiling was just a symbol for the real star. The real star, the one they would see in the Star Room, was the ship’s destination.
I love generation ship stories, and here, Marlow tells a
powerful and deeply emotional story about a generation ship by zooming in very close
on a small scene and one character. Ben has to change a lightbulb in a room in
the spaceship that has been his home since he was born, the ship he will die on, the ship that has already been traveling towards its destination star for
several generations. Through this small scene, focused on Ben and his
work partner, we get to see and especially feel the magnitude of the journey
and the toll it's taking on the passengers. But this is not a story about despair, there is also hope here, even
though it is suffused in longing, sadness, and hardship.
She Dreams In Digital by Katie Grace Carpenter in Diabolical Plots
“You will awaken one day,” Ship had promised them. But as ages passed, even their bones crumbled into minerals, leaving ghostly shapes beneath the panels of their cryo-capsules.
A generation ship is traveling through space carrying humans that are supposed to find a new place to live, beyond Earth. But the journey does not go as planned, and now, the only thing alive on the ship are the plants in a garden that is changing in unforeseen ways. This story puts an unexpected twist on the whole generation ship idea, and I love how it reimagines the whole mission and journey, ending up with a very different result than was originally planned.
Sleep Tight by Mark Joslyn in Cast of Wonders
(narrated by Katherine Inskip)
You were right, you know. When you were a child.
I was hiding under your bed.
A wonderfully dark and menacing short flash fiction story that
takes the "monster under the bed" trope and spins it into something
else. There's a terrific sense of menace here that digs into real life, into the
real pain and difficulty of growing up, and it packs a lot of emotional truth into very few
Nobody Ever Goes Home to Zhenzhu by Grace Chan in
I’d always known Calam would run.
He had all the signs. A taut restlessness, body brittle as an overstretched lute string, when we stayed too long in one place. A gloom in his eyes, as we drifted through stretches of dead space. A sullen crease between the brows, whenever I tried to ask how he’d landed in that dead-end Martian workshop at seventeen.
But after ten years, why now?
Zhenzhu is not a world anyone would likely want to visit: the acid rain is so bad it corrodes the buildings and is dangerous to human beings. And yet Orin is compelled to go there, looking for Calam. Almost immediately, we realize that both Calam and Orin have become entangled in a world of dangerous underworld shenanigans and that their lives are most certainly in danger. This hugely entertaining science fiction story is one hell
of a ride - it's action packed and almost cinematic in its storytelling, and at the
same time it manages to do some excellent worldbuilding, and give us a great set of
characters, while never losing its momentum.
Will Sing Your White Bones Home by Cat Hellisen in Beneath Ceaseless Skies
My brother died young.We are used to death. Our people go to war endlessly; we sharpen our teeth on the bones of the ones we drown, and in return, the finless ones net us, gut us, burn our flesh.But my brother died before he married, and it was an ill-omen. The eldest son of our brood, he was meant to rise high, to command the deep monsters, to make the waves turn. My brother Diev was to marry well and have sons and daughters and everything in between.
Oh my goodness. If you're looking for a mer-people story that will break your heart and make you want a whole novel, then this is the story for you. Hellisen tells a story of a dead brother, the sister who cannot forget the last time she saw him, and their mother, who is a fearsome and perilous creature in every way. I love the details stitched so beautifully into this story, about language and magic, death and afterlife, family and war. The world and the characters come to life vividly and there's a terse edge to the prose that is simply perfect.
Tell Me Half A Story by Jennifer Lee Rossman in
Abyss & Apex
Of all the survival skills we learned from post-apocalyptic TV shows, this was the most important: no one could die unless their character arc was at a satisfying conclusion. So every time one of us left, we made a point to tell the other just enough of a secret to make it clear – to ourselves and to God or the Universe or whoever decided those things – we had more story left in us.
I love how this story plays around with tropes and
expectations of how things work in TV shows and movies, and how these tropes might work if you try to apply them to real life. The two sisters living through a
world gone terribly awry are trying to keep themselves alive by using those
tropes to their advantage. Rossman's story explores both the sisters'
determination, pain, and their grief, and it is beautifully done.
Plastic Bag Girl by Choo Yi Feng in Anathema Magazine
A girl uses her innate magic to turn plastic trash from the beach into living creatures, entertaining tourists in order to make a living: “A peacock with bottlecaps for eyes, and straws and spoons woven into tail feathers, danced among the sands to sparkling delight. Once she’d perfected her transfigurations, it could even spread its wings and take to the air, if only for the few transient hours that her magic persisted.” This gorgeous and sharp story has the feeling of fairytale woven together with near-future scifi, and I love the transformative ending.
Colors of the Immortal Palette by Caroline M. Yoachim in Uncanny Magazine
Mariko is a model and muse for painters, but she hungers for something else and something more. An encounter with one of the artists she poses for goes far beyond painting, and changes her life. This story came out last year and I somehow missed out on reading it until recently. It's been nominated for several awards, and I absolutely understand why. The prose is exquisite, and Yoachim weaves a complex and nuanced tale about art and history, identity and longing, life and love. It lingers in the mind long after reading.
Instructions To The New Waystation Warden: To Be Read Upon
My Death by Shelly Jones in Rune Bear
Fair disclosure: I first read this story because Shelly Jones
tagged me on Twitter to say that she had used some of the advice in my
SFWA Blog post with tips for writing flash fiction when writing this
story. Specifically, my tip about using your title wisely. It's always a treat
to hear that something you did or said was helpful to someone, so, yeah, I
had to check out the story. It's a wonderful, cleverly crafted, unsettling flash piece about how to interact
with a very perilous people:
"Beware the fairies," the lost ones will tell you, their fingertips ashen, icicles burning their scalps. Their hopes have hardened in the ice, but their spirits shout their warnings, whisper regrets..."
This story also introduced me to Rune Bear, a publication that "focuses on small, promising bits of prose and poetry with elements of the Strange, Surreal, Supernatural, and Speculative."
The Heroine Kokofe by Ife J. Ibitayo at Escape
Pod (narrated by Mofiyinfoluwa Okupe)
“Ori,” Muhamolu boomed, his voice echoing across the village square, “tell us your will!”
A faint, humanoid emanation appeared in front of the Kwanza’s head. It was the buggy remnants of the spacecraft’s AI, to Kokofe at least. But the villagers bowed as reverently to it as God Himself. Kokofe also sank to her knees. Of all days, today she’d need as many allies as she could get.
This is a science fiction story about a young woman who must
go on a quest as a rite of passage, and one of the things I love about this piece is how effortlessly it blends what is clearly science fiction with a story that has the vibe and feel of a fairytale adventure. Kokofe's people live on a planet far from Earth,
but they have brought the Orisha gods with them into space, and interact with these gods,
at least partly, through an AI-program that is still active on their old spaceship. Kokofe brings along an unexpected companion on her quest,
and she must use everything she knows, and everything she is, in order to
Peach Child, Woman, Stone by Dafydd McKimm in Flash
Yes, there were peaches, fresh peaches from the mountains, on the table that afternoon. January’s rice crop had already been taken in, leaving two glorious weeks of idleness until the July seedlings had to be planted. All the men were at war. In the small living room, cooled during the day by a dulcimer breeze, I watched as aunts descended on the fruit like egrets on a freshly turned field.
This is a gorgeous, evocative, and deeply strange story
about a peach pit, a family, and a child. It's also about life, childhood,
adolescence, and more. McKimm stitches real magic into the fabric of reality in this story,
and the results are breathtaking.
Murders of the Self by H. Pueyo in The Dark
“The first one to die is the little girl.”
"The Many Murders of the Self" is a devastating short story. It's profoundly
disturbing, full of pain and dread, and it’s also brilliant. (Heed the
content warnings because this one is strong stuff, and not because of gore, but
because terrible things happen to a child.) The horrors that Pueyo weave into
this story are only too real, but the story plays out like a nightmare
where you cannot wake up, and you cannot escape.
de Caribou by Becca De La Rosa in The Dark
This is a luscious, deliciously dark horror story where the food is described in almost intoxicating detail. The story’s narrator is hired to cook for Dorothy, a rich woman who is jolted out of her food-boredom by the feasts prepared for her. I love how this story hides its razor-sharp edge in the gorgeous descriptions of food, and I love how the truth of what is actually happening, is slowly revealed.
You Stop Seeing Ghosts by Sam Rebelein in Bourbon Penn #24
In Molly’s family, everyone sees ghosts everywhere until sometime around puberty when they just stop seeing them altogether. No one explains how or why this happens to Molly, and she quietly dreads the day it will happen. She thinks the ghosts are trying to tell her something, maybe warn her about something, and in the end… well, she finds out the hard way what happens when you stop seeing ghosts. Is there something worse than seeing ghosts everywhere? Turns out, the answer is probably yes. There’s a dark sense of humour and a strangling sense of dread in this story, and it is a definite must-read.
Parts of a Belated Apology by AnaMaria Curtis in Fireside Fiction
Something unforgivable happened to the narrator’s mother when she was a child. Now, the narrator is traveling and visiting family, finding out what happened back then and who was responsible for the fate that befell her mother. I love how this story finds a visceral, and rather brutal, way of visualizing the parts of the belated apology. It's made clear that nothing can be said or done to fix the past, and that maybe beyond the apology, some retribution is needed.
by Anjali Sachdeva in TOR.com
The premise of this science fiction story is fascinating. As
is explained in the story’s intro-blurb, the main character Vashti is a
pathogenic diplomat, “an ambassador to the world of viruses, whom she
communicates with through a machine that can translate their chemical signals
into images, tastes, smells, sounds, and memories.” In the story, Vashti is negotiating with a
virus which has just begun spreading a deadly mutation in Florida. At the same
time, Vashti is thinking and worrying about her daughter who she rarely sees because she is part of a
tech-averse commune. I love how this story imagines a way for a human to communicate with a virus and how the process has changed Vashti's life, and might also have changed the world of viruses in unexpected ways.
Out by Justine Kertson-Norton in Utopia Science Fiction Magazine
No one knew why the sun had suddenly started heating up and increasing in size, eating up its hydrogen fuel and growing ever brighter. But between its excess heat and global warming, the pace of climate change only accelerated. And as weather patterns became more unpredictable throughout the 2020s, huge multinational corporations went all-in on their short-term profit gamble, completely trashing the planet’s environment as they literally burned through the last of global fossil fuel supplies. They destroyed the planet—it’s been years since a person could go outside without a respirator mask.
This story is set in a future where the sun is heating up
and expanding, which combined with the ongoing global warming, and corporations
ravaging the planet for the last bits of resources before the inevitable apocalypse, is speeding
up and worsening the destruction. Danele and Ziv are heading out together for
one last trip, one last adventure, one last meal, before they go out with a bang. I love how Danele and Ziv’s love story is woven into the tragedy of the oncoming apocalypse. It makes for an
emotionally charged story that finds bits of love and joy, even at the end of the world.