Tor Nightfire: First Season of Books from the New Horror Imprint

Tor Nightfire

Usually I’ll go more out of my way to support and spread the word about small independent presses that I adore. But, Tor has always been supportive of my reviews and their new upstarting Nightfire horror imprint is one that I’m especially excited about! Perhaps it is the pandemic, but for whatever reason I’ve been on a recent horror kick, enjoying ‘old’ favorite publishers like Raw Dog Screaming Press or the new Off Limits Press. Now the excitement builds for what looks to be a stellar lineup in the Tor Nightfire first season catalog. So here’s a brief news highlight for the upcoming books due out this fall from Tor Nightfire.

I’m due to receive some of the titles in advance for review, and probably will try to pick up as many as I can of the others when they’re released. So, look for reviews here to come and in the meantime check out the details on them all:

First up in their catalog for 7th September 2021 release is Certain Dark Things by Silvia Moreno-Garcia, an urban fantasy-noir with vampires:

“Welcome to Mexico City, an oasis in a sea of vampires. Domingo, a lonely garbage-collecting street kid, is just trying to survive its heavily policed streets when a jaded vampire on the run swoops into his life. Atl, the descendant of Aztec blood drinkers, is smart, beautiful, and dangerous. Domingo is mesmerized.

Atl needs to quickly escape the city, far from the rival narco-vampire clan relentlessly pursuing her. Her plan doesn’t include Domingo, but little by little, Atl finds herself warming up to the scrappy young man and his undeniable charm. As the trail of corpses stretches behind her, local cops and crime bosses both start closing in.

Vampires, humans, cops, and criminals collide in the dark streets of Mexico City. Do Atl and Domingo even stand a chance of making it out alive? Or will the city devour them all?”

The following week features the release of Slewfoot: A Tale of Bewitchery by Brom. I don’t know dark fantasist Brom, and I was at first off-put by his use of a singular name. But the description of this just sounds wonderful.

“Connecticut, 1666. An ancient spirit awakens in a dark wood. The wildfolk call him Father, slayer, protector.

The colonists call him Slewfoot, demon, devil.

To Abitha, a recently widowed outcast, alone and vulnerable in her pious village, he is the only one she can turn to for help.

Together, they ignite a battle between pagan and Puritan – one that threatens to destroy the entire village, leaving nothing but ashes and bloodshed in their wake.

“If it is a devil you seek, then it is a devil you shall have!”

This terrifying tale of bewitchery features more than two dozen of Brom’s haunting paintings, fully immersing readers in this wild and unforgiving world.”

Witches continue the theme with the next week in September and a reprint (I believe) of Hex by Thomas Olde Heuvelt, translated from the Dutch by Nancy Forest-Flier. I am seriously disappointed that translator’s name is not on the cover, and even more so that it’s not on the publication page/materials. A newly translated novel by Heuvelt, Echo, is due in 2022 from Nightfire as well.

Due out the final week in September is The Last House on Needless Street by Catriona Ward. The cover reveal was just held for this psychological horror, and it is a beauty. I don’t think I had originally requested it, but now I’m hoping I might be able to find the time.

“In a boarded-up house on a dead-end street at the edge of the wild Washington woods lives a family of three.

A teenage girl who isn’t allowed outside, not after last time.
A man who drinks alone in front of his TV, trying to ignore the gaps in his memory.
And a house cat who loves napping and reading the Bible.

An unspeakable secret binds them together, but when a new neighbor moves in next door, what is buried out among the birch trees may come back to haunt them all.”

Speaking of awesome covers, Nothing But Blackened Teeth by Cassandra Khaw has a doozy. This novella featuring a haunted house had me sold without even reading the blurb and I feel both guilty and tremendously joyful I’ll be able to read it before its 19th October release. For others, just in time for Halloween!

“A Heian-era mansion stands abandoned, its foundations resting on the bones of a bride and its walls packed with the remains of the girls sacrificed to keep her company.

It’s the perfect venue for a group of thrill-seeking friends, brought back together to celebrate a wedding.

A night of food, drinks, and games quickly spirals into a nightmare as secrets get dragged out and relationships are tested.

But the house has secrets too. Lurking in the shadows is the ghost bride with a black smile and a hungry heart.

And she gets lonely down there in the dirt.

Effortlessly taking the classic haunted house story and turning it on its head, Nothing but Blackened Teeth is a sharp and devastating exploration of grief, the parasitic nature of relationships, and the consequences of our actions.”

I’m very happy to see that Tor Nightfire has an anthology of short fiction due out their first year as well, in November. Dark Stars: New Tales of Darkest Horror, edited by John F. D. Taff is apparently an homage to classic 1980s collection that I’ve sadly never encountered. Guess I will have to delve into both!

Dark Stars is a tribute to horror’s longstanding short fiction legacy, featuring 12 terrifying original stories from today’s most noteworthy authors, with an introduction by bestselling author Josh Malerman and an afterword by Ramsey Campbell.

Created as an homage to the 1980 classic horror anthology, Dark Forces, edited by Kirby McCauley, this collection features 12 original novelettes showcasing today’s top horror talent. Dark Stars features all-new terrifying stories from award-winning authors and up-and-coming voices like Stephen Graham Jones, Priya Sharma, Usman T. Malik, and Alma Katsu, with seasoned author John F. D. Taff at the helm. An afterword from original Dark Forces contributor Ramsey Campbell is a poignant finale to this bone-chilling collection.

Enter if you dare, dear reader, and discover what horrors await in Dark Stars…”

The only release due from their catalog that I’ve skipped over is a second one released on that debut day of 7th September: The Living Dead a new novel based on George A. Romero’s zombieverse, written by Daniel Kraus. It’s now the only on that I haven’t felt much anticipation for. But if I end up devouring all their other titles as I hope, the completist in me might need to check this out as well.

I certainly don’t plan to regularly feature the whole catalogs of big publishers, but I hope readers and followers appreciate learning about this new imprint if they haven’t already.

Upcoming Unsung Stories Fantasy/Horror Anthology to Raise Awareness of Mental Health Issues: OUT OF THE DARKNESS

From Unsung Stories and Together for Mental Wellbeing

Out of the Darkness:

An Anthology of Horror and Dark Fantasy

If you didn’t notice the news earlier this month, Unsung Stories is publishing Out of the Darkness, an anthology of dark fantasy and horror fiction raising awareness of mental health issues with Together for Mental Wellbeing. From their release:

“[They] have Kickstarter exclusives on offer, including the chance to have your name in the book as part of the amazing community that supports indie publishing, and an exclusive, numbered hardback edition that is strictly limited to 100 copies worldwide. There are also opportunities to have your work critiqued by the award-winning Unsung Stories team, and bundles of books by featured Unsung authors.

Out of the Darkness challenges some of the most exciting voices in horror and dark fantasy to bring their worst fears out into the light. From the black dog of depression to acute anxiety and schizophrenia, these stories prove what fans of horror fiction have long known – that we must understand our demons to overcome them.

In the wake of the Covid-19 pandemic, what began as a mental health crisis has rapidly become an unprecedented tsunami. The Centre for Mental Health has estimated that 10 million people will need mental health support in the UK as a direct consequence of Covid-19, with a staggering 1.5 million of those being under eighteen.

Edited by Dan Coxon (This Dreaming Isle) and featuring exclusive stories by Alison Moore, Jenn Ashworth, Tim Major and Aliya Whiteley, this collection harnesses the power of fiction to explore and explain the darkest moments in our lives. 

Horror isn’t just about the chills – it’s also about the healing that comes after.”

Table of Contents 

  • Nocturia – Nicholas Royle 
  • The Note – Jenn Ashworth 
  • Lonely Souls in Quiet Houses – Laura Mauro 
  • Seabound – Alison Moore 
  • Goodbye, Jonathan Tumbledown – Tim Major 
  • The Chorus – Aliya Whiteley 
  • The Forlorn Hope – Verity Holloway 
  • Oblio – Richard V. Hirst 
  • Still She Visits – Eugen Bacon 
  • Bloodybones Jones – Sam Thompson 
  • The Lightness of their Hearts – Georgina Bruce 
  • The Residential – Gary Budden 
  • Replacement Bus Service – Ashley Stokes 
  • Temple – Anna Vaught 
  • The Hungry Dark – Simon Bestwick 

Additional stories by Malcolm Devlin and Gareth E. Rees are slated for stretch goals.

I’ve already backed this and I’d encourage others to do the same. Support the Kickstarter here!

ON THE NIGHT BORDER by James Chambers

On the Night Border
By James Chambers
Raw Dog Screaming Press — September 2019
ISBN: 9781947879119
— Paperback — 218 pp.
Cover: Daniele Serra (Art) and Jennifer Barnes (Design)


Seeing posts about the recent release of There Comes a Midnight Hour by Gary A. Braunbeck put me in the mood for reading something from Raw Dog Screaming Press, so I read one I had on-hand: The Fourth Whore by E.V. Knight. After reviewing that the other day, I decided to just make both review posts this week on RDSP titles.

It’s been awhile since I read James Chambers’ collection On the Night Border, so I glanced through it anew to write this. I’d previously encountered Chambers’ writing in Truth or Dare?, an anthology from Perpetual Motion Machine Publishing, which included the Chambers story “Marco Polo”, reprinted in On the Night Border. Though I thought it was an average to good story back then, it is only upon rereading it in the context of stories by Chambers that I could fully appreciate all it is, and the wide range of what Chambers can effectively write within the horror genre.

The first handful of stories in this collection immediately establish that Chambers can work well with completely different voices and styles. “A Song Left Behind in the Aztakea Hills” features a Lovecraftian plot set in New England. Its protagonist is an artist, a painter, who once knew Jack Kerouac. A mathematician seeks him out at the local bar to hear a story about his time with Kerouac, in particular an incident that occurred in the nearby hills on a trip with a band. As they travel back to the hills, the artist recalls the otherworldly sounds they experienced there, and he faces the mingling grief and indifference of being recently dumped by his boyfriend. The story is written with poetic descriptions and complex layers to its sentences. Chambers renders one section in the style of Kerouac, a mad frenzy that is a fitting pairing to Lovecraft. Though taken place in relatively contemporary time, the richness of the style and words evoke the eldritch inspirations behind the tale.

The next story, the aforementioned “Marco Polo”, is also set in relatively contemporary times and draws on themes of madness and recovery, but centers on a completely different population: teens. A group of friends dare one another to enter the fire-charred remains of a house to recover an object. The notorious house inspires fear both due to the physical danger of its ruins, but also on the spiritual side. It was the site for something horrendous, and the object is somehow associated with it. The reader soon learns more details, and the meaning of the title becomes apparent. But I won’t spoil that. With a focus on the impetuousness of youth, Chambers style and tone completely shifts from the first story. Curt dialogue between the friends and colloquial taunts blend with the inner thoughts of teenage uncertainty. But these soon give way to text again depicting madness. However, where in “A Song Left Behind in the Aztakea Hills” that madness fit the Lovecraft style mold, here it takes the form of slasher film syle.

Already, readers can begin to get a sense of those elements common to all of Chambers’ stories. First, he uses a plot set up that will be familiar to horror readers, or anyone who has heard a scary story or urban legend. He then chooses a unique voice to explore one central theme through that plot setup. He does that in ways that then take something ordinary and and skew it into a dark and dream-like haze. The story formed as the end product thus really fits with the title to this collection: a tale on the border between the mundane and bone chilling, on the border of familiar and uncanny.

“Lost Daughters” serves as a great example. One of my favorites in the collection, it began like something I read or heard before. A man drives on dark road over ‘suicide bridge’. He stops to pick up three young women, concerned for their safety out alone on such a night. Sounds like a ghost story from Scary Stories to Tell in the Dark. To that setup Chambers then explores the emotions of a concerned father, and through that character’s voice reveals the terror as terror begins to unfold and his concern shifts to self preservation. I quickly realized these aren’t ghosts, they are another horror staple But, then the end brings the fatherhood concern theme full circle in novel ways.

To follow this, “Sum’bitch and the Arakadile” demonstrates yet another unique character/voice for Chambers to use, while also illustrating the first example in the collection of using some humor alongside the horror, even if the tone doesn’t ever really become ‘light’ per se. Later, with “Living/Dead”, Chambers shows that he can in fact do that too, with a memorably sweet story that uses the zombie concept to explore the mystery of love. This, right after the most brutal story in On the Night Border: “The Driver, Under a Chesire Moon”, where the main character is the eponymous driver, explaining to a passenger his fascination with the evils done against children, and the staggering statistics of child disappearance.

Though Chambers’ stories all share some common core, the shifts in voice and sub-genre of horror make it a very eclectic and varied collection. Looking at other reviews of On the Night Border, readers often seem to indicate very different stories as favorites, note others as good, and more rarely point out one not liked. Considering Chambers’ range, I don’t find this surprising. He’s very much a jack-of-all-trades within short fiction horror. Unless one really doesn’t like the voice or sub-genre he chooses, a reader will at least find a story to be decent. He’s not going to change your mind about what you’re partial to. But whatever horror thing is your favorite, he’ll write one that you will probably just adore.

I could not read “Mnemonicide” because it is written as an exercise in the second person. No matter how much that fits the story, I just don’t care. But others mark that as a favorite. I could take or leave Lovecraft. “Odd Quahogs” a story here featuring Dagon was good, but nothing special to me. The Lovecraftian “A Song Left Behind in the Aztakea Hills” I liked even more, but still wouldn’t put at the top.

Beyond ones mentioned earlier above, “The Many Hands Inside the Mountain”, “What’s in the Bag, Dad?”, “Picture Man”, and “Red Mami” were among my favorites. I won’t belabor things with summaries of those, and I’m out of fresh insights to particularly connect with them as examples.

Before getting to my last points, for the sense of completeness: “The Chamber of Last Earthly Delights” sat kind of in the bottom middle for me in level of appreciation. It’s inspired by the mythology of Robert Chambers’ The King in Yellow (not James Chambers the author of this collection). Unlike Lovecraft mythos, I have never heard of Robert Chambers or his work before. The story goes in a more SF direction than others, which I found interesting. But, perhaps missing the reference/inspiration, the themes and plot of the story were really lost on me.

That James Chambers can so effectively employ varied voices/styles in a range of horror sub-genres seems to have led him to not just use other mythos as his inspiration, but to go even a bit further and pen additional stories featuring classic characters. The remaining two stories in the collection I haven’t yet mentioned fall into this category. In both cases, I’ve read nothing on the original sources, but unlike The King in Yellow, I have at least heard of them and/or their creators.

The first, “A Wandering Blackness” features Anton Zarnak, Supernatural Sleuth, a character by Lin Carter. Once Zarnak gets into this story by Chambers, it is awesome. The lead up to that, however, seemed unnecessarily prolonged. The second I read as far more successful: “Lost Boy” featuring Kolchak, the Night Stalker, a character who Chambers has also written for in the graphic novel format. It’s a familiar changeling fairy story, but the modern twist of a mother wronged by a rich businessman and the Kolchak series placement make it interesting and satisfying.

The collection is followed by author notes on each of the stories. I found these really useful for recalling some stories for this review so long after first reading them, but also they provide fantastic insights into why Chambers wrote them – the themes he found himself pondering or the inspiration/voice he wanted to delve into. The notes enhance the stories, especially for then rereading and gaining new appreciations.

Horror fans are sure to find a good deal to enjoy in On the Night Border. I failed to mention earlier one other element that ties together all the stories. No matter their voice or style, they are all cinematically evocative. Chambers writing really makes the reader hear and see what is going on, while also triggering the other senses like any good horror should. It deserves continued notice, and I hope to see much more from Chambers.


THE FOURTH WHORE by EV Knight

The Fourth Whore
By EV Knight
Raw Dog Screaming Press — March 2020
ISBN: 9781947879164
— Paperback — 226 pp.


Struggling day-by-day to survive in the slums of Detroit, Kenzi Brooks does whatever is necessary to keep control of her life, using the power of her body as a woman, supported by her street-wise friend Gloria, but at odds with her alcoholic, hostile mother. As rough as Kenzi’s present may be, her past has been even more damaging. Sixteen years ago, at the age of seven, she walked to the store with her brother, and watched him struck down in a hit-and-run. She would have died in that accident as well, were it not for the strange, dark-robed figure she saw. A man who made her pause, a man with scrawled writing up his flesh, and a large black bird with him. Through the ensuing years she years Kenzi couldn’t be certain if this Scribbled Man was a figment of her imagination or something very real. Arguing for the latter, she carries a lucky rabbit foot that she recalls him giving her. It serves as a reminder of that tragedy, of her father’s subsequent death, and her continued pain; the sharp edges of the claw used to cut herself in ritual self harm.

An attack by members of a drug gang after payments leaves Kenzi badly injured and her mother dead. During the assault, Kenzi unknowingly releases the spirit held within the rabbit foot: Lilith, the first created mate for Adam, who was cast from the Garden of Eden for refusing to be subservient to her husband. Abandoned and tormented by fallen angels, Lilith becomes mother to half-breed demons and slowly a demon herself, or as she comes to think of it, a goddess. One of the angels she trusted, but who ended up failing and betraying her, is Sariel. For Sariel’s actions in defiance of the Creator, he is punished to serve as the Angel of Death, forced to collect human souls with his avian companion Enoch until he also captures all of Lilith’s demon-spawn. Sariel is Kenzi’s Scribbled Man, and he has plans and hopes for this special girl who can see him through her heterochromatic eyes.

But, the escaped Lilith has very different plans for Kenzi, and for the world. Lilith intends to usher in the apocalypse, to destroy the world and remake things in her image where women are not terrorized in subservience. Where she is worshipped. She recruits other women to her path, to serve as the Whores of the Apocalypse (parallels to the Four Horsemen of Revelation). Due to the unique nature of Kenzi and what Sariel has done, she will make the ideal fourth whore. But who will Kenzi choose to believe and follow: Sariel her Scribbled Man from her childhood, or the powerful and vengeful Lilith?

The Fourth Whore thus has a lot going on in it for ~225 pages: multiple intersecting back stories as well as competing paths for Kenzi’s future. Knight structures the novel with short chapters written from different points of view. Sariel, Lilith, and Kenzi account for the most, but other chapters use the point of view of the Whore of War, the Whore of Pestilence, and a young male doctor who sympathizes with/is attracted to Kenzi. This organization works really well, and the chapter titles, rendered as “The Book of Sariel” (for example), make it easy to figure out what character or plot thread will be featured. Even with two “Books of Kenzi” in a row, Knight splits her protagonist’s point of view into two chapters that break with the action and a hook to keep reading. This makes The Fourth Whore easy to make one’s way through it.

What may make The Fourth Whore more difficult to get through it, for some readers, is its uncompromising and unflinching intensity. It features dark, troubling themes of rape, mental/psychological trauma, self harm, and perverted abandon. Readers can almost hear, see, smell, and feel the viscera that fills the pages with all bodily fluids imaginable. Knight writes raw, graphic scenes of sexuality that equally don’t shy from biological frankness.

Some may then wonder why would somebody want to read such things? I imagine that regular fans of dark fantasy and horror know exactly why such brutal honesty can be therapeutic, while others know it is something that they just have to avoid and can’t manage. Either is fair. For those who aren’t so sure, or wonder how all of that could transcend simple vulgar gore to mean something significant – and something feminist at that – read on…

The Fourth Whore is a fascinating work of feminist fantasy/horror built upon the iconic JudaeoChristian mythology of Lilith, the Nephilim, and the history of the Salem Witch trials. It illustrates the many ways in which women have been suppressed, oppressed, demonized, controlled, and assaulted. Literally and symbolically. Mentally and physically. It also contains female characters who have all witnessed or experienced this and chosen to reject being trapped within that system. To act differently with unapologetic pride and fervor. They take derogatory language and weaponize it. They take something that they’ve been historically asked to view with shame, guilt, and submissiveness and made it into a celebration of power. The question that all of the The Fourth Whore hinges upon becomes one of at what point does rebellion against an unjust system of power become equally hurtful in new ways? Or, is one really free from that system of power if it merely redirects harm?

Kenzi’s internal battle through the novel is between trusting two powerful forces of authority who both lie to her and want to use her. One is male, admits mistakes in the past, but professes to be trying to do better. The other is female and says that the male just wants to continue using her. The kicker is, both are kinda right! Kenzi comes to appreciate just how horribly and awfully Lilith has been treated. Without excusing any of that, though, she cannot necessarily come to condone what Lilith has become or now desires. She confronts the realization that victims might turn into the monsters, continuing the pain that was visited upon them. Others might act as monsters – and still have that in them, but perhaps want something more. These realizations become symbolic for Kenzi’s own victimhood. Without losing sight of what unfair trauma she has faced and the wrongs done to her by others without any fault of her own, she sees a fork in the road of what can be done to perhaps heal. One pathway exists as the one she herself has so often taken: relief by further pain. Cutting. Another path is turning that vengeance away from oneself and outward to the world – the route of Lilith and her disciples. But perhaps there is also a third to find.

All readers may not agree with how all these themes and questions go in the novel. And frankly many – including Knight – might disagree with my interpretation of things. It’s important to note I am male and coming at this from a different perspective than other readers may. As a male I really appreciated the characters of Sariel and Henry (the doctor). Not because I wanted someone like me in the story, but because Knight does convey that male perspective so well (imho) of wanting to do better, to do right, but likewise existing on societal pillars both conscious and unconscious that might work against it. Even if others end up feeling very differently about the novel’s themes, the one thing I think it’s safe to say is that The Fourth Whore invites analysis around them.

The only significant criticism that I might make of the novel is that the dialogue becomes very stilted and hammy at times, particularly in the more sexually or generally emotionally charged scenes. Some of those lines then make secondary characters comically clichéd, or at the very least too un-nuanced. Despite such moments of unevenness, the overall arching plot of the entertaining story, as well the depth and complexity of its themes, makes The Fourth Whore an overall success.

This should give potential readers an idea if they fit into the novel’s audience. But even if this isn’t a fit, I would say that the name EV Knight is one that you should keep an open mind for with future titles. She writes intelligent and perceptive horror, and future things from her may connect to dark fantasy fans who might not be able to quite manage this particular intensity of content and themes.

EDIT IN UPDATE:

I just realized that I completely neglected to say more on Enoch! Enoch is the real star of the book :D. I particularly love the running ‘gag’ that Enoch’s gender is abundantly clear to Kenzi, but Sariel remains mostly obstinate and clueless. She could star in her own series.


ASIMOV’S SCIENCE FICTION #540/541 (January/February 2021) Edited by Sheila Williams


Though there are a couple/few stories in this issue that I didn’t care much for, the vast majority were really excellent. A great start to 2021 for Asimov’s.

“A Rocket for Dimitrios” by Ray Nayler — Increasingly liking the fiction from Nayler and his translations, and this alternate history is no different. A follow up to his previous story “The Disintegration Loops”, the foundation for this alternate world is the discovery of alien technology in the early 1930s and its implementation in US over the ensuing three decades. The alien tech provides amazing things, but humanity still has a poor grasp on how any of it works. The technological advancements have also brought heightened paranoia and authoritarianism to the US under seven-termed (if I recall correctly) President FDR. Standing against the patriarchal US government and the directions it continues to follow are a group of women, including Eleanor Roosevelt and Hedy Lamarr. So, I still haven’t mentioned the actual plot to this story, but honestly its a MacGuffin to explore some great themes and characters in this altverse.

“The Realms of Water” by Robert Reed — Falls into the category of SF writer of a certain age becoming enamored with European history (Roman) and transposing some part of that into SF/Fantasy retelling. This unfortunately seems to happen a lot. The very prolific Reed always writes well. But this was just not a story I found interesting, and it took up way too much space in this issue. On the other hand, at least he didn’t go the alternate history route.

“No Stone Unturned” by Nick Wolven — An exploration of the possible effects that teleportation technology might have on humans, this is top notch SF with both speculative elements, a good dose of science and a human element at its heart. A man becomes concerned about his wife who has been part of a program testing transporter technology. She seems more distant, and forgetful of their child. But, is this an effect of the transporter process as one conspiracy guru claims, or is there something more basic and ageless going on here? Highly recommended.

“Table Etiquette for Diplomatic Personnel, in Seventeen Scenes” by Suzanne Palmer — A murder aboard a human alliance space station with several visiting alien species has possible connection to an old conflict between two groups, and the cuisine selections that must be diplomatically selected/prepared to avoid insulting – or poisoning – any species. Fun, and slyly written, any Trek fan should enjoy this as well.

“Hunches” by Kristine Kathryn Rusch — An engineer on the bridge of a starship is saved from horrible death by going with gut and donning a pressure suit just before sudden crisis unfolds. With nothing transpiring as it should, the disoriented engineer continues to use his hunches to save the ship and surviving crew. A more contained and limited story than I’m used to seeing from Rusch. It is by no means bad, but I also didn’t find it that striking or perceptive.

“Shy Sarah and the Draft Pick Lottery” by Ted Kosmatka — Set in a world – or maybe reality! – where the top echelons of society control people and events according to powerful statistical models much like sabermetrics is used for baseball scouting and plans. An abnormally shy woman who has skills in scouting for prospects that can bring a statistical edge (luck) to situations risks her position and life by telling a prospect the truth about how the world is run and what those in power will do to maintain their edge. Great idea in this story and superb execution.

“Mayor for Today” by Fran Wilde — Concept of a world-wide gig economy taken to extremes. Wilde goes with this idea in interesting directions and as usual writes a compelling and entertaining story. It mixes absurd humor with political critique and sympathetic characterization of individuals struggling to survive in a system.

“The Fear of Missing Out” by Robert H. Cloake — A socially awkward man begins to use new auto-personality technology to navigate difficult situations, like talking to an attractive man he happens to meet. While it’s running most sensory input is lost to him, but he can rewatch what has occurred while on ‘auto-pilot’ afterward, having retaken primary control of his body/mind. Success at winning a date leads him on a path to further dependence on the technology so that primary control actually becomes the unwanted exception. A poignant take on technology dependency and avoiding uncomfortable situations.

“The Three-Day Hunt” by Robert R. Chase — Well written story about a war veteran and his dog going on a search for the pilot of a crashed UFO. At first uncertain if it is something extraterrestrial or human military-based, the man soon gets word that its an intelligent alien species out there in the woods and he should disengage to leave first contact to the professionals and high muckety-mucks. The story ends with a clever observation, and it is an enjoyable enough read. But there’s not really much here beyond the surface level.

“Humans and Other People” by Sean William Swanwick — A pair of scavengers (human and robot) who loot sites in a post-climate-disaster NE USA encounter unexpected complications in a fire-ravaged building in Philly. The concept and start of this seemed real promising, but then I felt it muddled with a voice/style I just never really could get behind.

“I Didn’t Buy It” by Naomi Kanakia — A short story on the concept of identity and perspective and relationships. I really didn’t care for the style, and in fact, didn’t buy it.

The issue also features poetry by Jane Yolen, Leslie J. Anderson, Robert Frazier, and Avra Margariti. Editorial by Sheila Williams, Reflection “One Hundred Years of Robots” by Robert Silerberg, Internet Column by James Patrick Kelly, and Book Reviews by Norman Spinrad and In Memoriam for Mike Resnick. Also includes In Memoriam for Mike Resnick, Readers’ Award Ballot, 2020 Index, and SF Convention Calendar.


THE DARK MAGAZINE #69 (February 2021) Edited by Sean Wallace


Another issue with three of four stories to read. Those three fit the billing of dark fantasy, and were notably good, with one particularly sticking with me to lead off the issue:

“Laughter Among the Trees” by Suzan Palumbo — An immigrant to Canada with her parents from the West Indies, Anarika has mixed feelings about the birth of her sister Sabrina, an immediate citizen of this new land, her only home in contrast to the rest of the family. But, when Sab goes missing on a family camping trip, Ana deals with the guilt and the pain of her parents for the years to come. The eerie story combines familiar conventional themes of sibling rivalry and the immigrant experience with elements of classic horror (ghosts) and the monstrosities of colonization in very effective ways.

“The Yoke of the Aspens” by Kay Chronister — I do not read you.

“One Last Broken Thing” by Aimee Ogden — Liv’s mother has abandoned her and her father, who now live on an unproductive farm where her father shoots any animal that he sees in the fields. At school Liv is mocked and outcast. But as HS graduation approaches, Liv yearns to depart for college, though her father remains set against it. An apt title for a story showing how people can be broken by the past and loss, but also the power of staying true to oneself.

“A Resting Place For Dolls” by Priya Sridhar — A baker who is distraught over the suicide of celebrity chef Anthony Bourdain uses a doll-making hobby – and power – inherited from her grandmother to help friends and acquaintances in her life who struggle with depression and stress. An anti-Voodoo doll kind of concept here, in a brief but good short story.

The issue also features cover art “Angel Fire East” by Tomislav Tikulin.


CLARKESWORLD MAGAZINE #173 (February 2021) Edited by Neil Clarke


A particularly strong issue this month for Clarkesworld, with a much appreciated return of translated fiction. I still am not a fan of novellas in short fiction outlets, but both of the ones here at least connected with me to largely appreciate and enjoy them.

“The Failed Dianas” by Monique Laban — A delightful story that shares themes with Sarah Gailey’s recent novel The Echo Wife, albeit a far less dark direction here. At the restaurant she runs, Diana greets herself – the latest clone created by her parents in an attempt to raise their daughter according to their vision of professional success. The new Diana comes to learn the truth that was kept from her, and soon meets a group of prior Dianas who have all found their own personal, diverse successes. The story effectively shows how much potential an individual can have and how one outlet/profession is never the defining or sole identity for them.

“Terra Rasa” by Anastasia Bookreyeva, translated by Ray Nayler — Hoorah! Translations are back again this issue and here is a great one of a fabulous story. Set in a climate disaster future where the world burns, the story follows a young woman who has worked as a rescuer and earned a coveted ticket onto a ship fleeing the devastation for salvation. It’s a brutal story and ending, but nonetheless offers a look into the beauty of the human heart that can occur even amongst all this.

“Obelisker Adrift in the Desert” by K.H. Meridian — The world has been devastated by inter-computer warfare. A cybernetically enhanced woman discovers one of the computer AIs in an obelisk and the two begin to form a friendship born from the loneliness, and perhaps regret. But, computers and humanity still remain for conflict to again rear up. A bit too long for my tastes, but Meridian writes the characters and their interactions so well that I was easily able to move past that and enjoy this.

“Mercy and the Mollusc” by M. L. Clark — Way too long for a short fiction outlet, and could’ve been used for a novel with a bit more in it to balance that length. A man goes around an alien world that humanity is terraforming, riding atop a giant sentient mollusk and trying to make up for the native life he destroyed prior as a soldier. Fascinating concepts in this story, both the biology and the themes of colonization.

“‘Remember the Washington,’ They Said as They Fed the Ugoxli” by Jeff Reynolds — SF set on a colony world with vibes more of a Western and concepts of frontier justice, as an unnamed former soldier who is tasked recovering bodies from the destroyed ships enacts retaliation against the aliens, and others. A difficult story where the horrors of war de’humanize’ all, and challenging then to read and connect to such characters and monstrosity. Almost more of a horror story in this regard.

“We’ll Always Have Two Versions of Pteros” by Dominica Phetteplace — “Everything was going great until Barry announced one morning that he was in the wrong timestream… He seemed sluggish. Disoriented. In need of coffee.” A lovely short story touching on the possibilities of relationships, but also that some things are just not meant to be.

“History in Pieces” by Beth Goder — Told in fragmentary ‘puzzle pieces’ of alien Archivists observing humans who have arrived on a world to colonize, the scattered construction of the narrative and jumps in time works well even in this ~1400 word story. The aliens literally create pieces filled with sensory and emotive records that fit together and become part of them. What could be gimmicky is formed into the core of the story, a poetic beautiful tragedy yet with continued hope.

The issue also features the nonfiction articles “Peter Pan Through the Years” by Carrie Sessarego, interviews with Karen Osborne (“Thrilling to the Harmony”) and S.B. Divya (“Science, Math, Fiction, and the Oxford Comma”) by Arley Sorg, 2020 Reader’s Poll Finalists news from editor Neil Clarke, and cover art “Forward” by Wenjuinn Png.


INTO THE DARK (Star Wars — The High Republic) by Claudia Gray

Into the Dark
(Star Wars — The High Republic)
By Claudia Gray
Del Rey Books — February 2021
ISBN: 9781368057288
— Hardcover — 425 pp.


Set concurrently to events in the High Republic novel Light of the Jedi by Charles Soule, Claudia Gray’s new YA novel Into the Dark expands readers’ introduction to details of this Star Wars period, but works equally well as a stand alone adventure. Those who’ve already read some of Gray’s canon Star Wars novels know her reputation for penning some great ones, whether marketed for the general adult (e.g. Master & Apprentice) or young adult (e.g. Leia: Princess of Alderaan). For any new Star Wars readers, you could start out with anything by her, including this exciting new release.

With the opening of the Republic’s Starlight Beacon station in the ‘wilds’ of the Outer Rim, Jedi long-based in the Temple on the Republic capital of Coruscant feel the Force guiding them to new opportunities and needs at that galactic edge. When Jedi Padawan Reath Silas learns that his master, Jora Malli, is one of those who will be leaving the comfort and calm of the Temple for the chaos and unknown of the Outer Rim for a posting at the station, he meets the development with worry and disappointment. A historian and bookworm, Reath has gravitated toward more academic Jedi pursuits, spending time in the library where others maximize lightsaber training and seek more extroverted action. But, Master Jora reminds her apprentice that Jedi must seek balance in all things, and push themselves through the difficulties of doing things they feel naturally disinclined toward or fear. That is, of course, except the Dark Side of the Force.

Reluctantly, Reath agrees, and promises to push himself toward being a better Jedi; be better attuned to the Force like those Masters he looks up to. Three of these Jedi join Reath on an Outer Rim based transport hired to take them to the Starlight Beacon dedication, where Jora already has arrived. Dez Rydan was Jora’s first Padawan, and the Knight is now already a legend to Reath, representing the dashing skills at adventure that elude him. Orla Jareni has just declared herself a Wayseeker, given official leave to operate outside of the Jedi Council’s purview to discover her place in the Force. Third is Cohmac Vitus, a respected Jedi with scholarly specializations into folklore that match Reath’s interests.

The transport taking the Jedi is a cargo ship blandly named the Vessel, run by the Byne Guild, an organization based in the outer reaches where Starlight Beacon is located. The motley crew consists of an eccentric trio: captain Leox Gyasi, an affable low-key guy who is protective of his crew; co-pilot Affie Hollow, a teenager whose parents died while in Guild employ, and who was then taken in by the leader of the Byne Guild; navigator Geode, who is a Vinitian appearing to be nothing more than a featureless, immobile, mute, rock.

Soon after departing Coruscant via hyperspace, the “Great Disaster” that features in Light of the Jedi occurs. The occupants of the Vessel suddenly find themselves surrounded in hyperspace by dangerous debris that looks frighteningly similar to the Byne Guild flagship the Legacy Run. This supposedly impossible hyperspace encounter is worsened by the fact that hyperspace itself seems tumultuous and wrong. Expert maneuvers by Affie and Geode allow the Vessel to leave hyperspace. The crew and their Jedi passengers find themselves in the middle of empty space, at a location that was in the Vessel’s computer for inexplicable reasons given its lack of planets or features. All they find is an abandoned station, whose architecture reminds Cohmac and Reath of a long-vanished people. Left stranded and unable to reenter hyperspace until the mysterious disaster can be dealt with and travel is again ‘assured’ safe, the Legacy occupants join the crews of other ships stranded in this location to board the station and investigate.

There they find a jungle of plants, cared for and protected by an army of droids. Stopping other crews from plundering the station and infighting, the Jedi try to keep the peace and manage the unexpected situation. However, they also sense something off, something of the Dark Side. Dark visions of violence seem to warn them of a danger there, and this seems tied to a group of small idols they discover, items they speculate may somehow have been imbued with power of the Sith, or worse.

It took me awhile to get into Into the Dark, and for awhile I wondered if this would be the first Star Wars novel by Claudia Gray that I would find middling. Mostly this is because it takes time to get elements of the plot going, and even once stranded upon the strange garden station, the true trajectory of things makes it somewhat hard to find footing and become invested. Within that first third of the novel, everything involves Gray’s establishment of the characters, and building the themes of the novel. I guess I didn’t quite take to the characters at first, particularly Reath. Earnest and well-intentioned, his fresh naïveté make him so unlike other Jedi I’ve encountered/read, even if a Padawan. As he grew, and I kept reading, I began to appreciate this much more.

By the middle of the book I was firmly hooked, and the revelations of its close tie together the themes of the novel so well, while also tying the plot into the grander picture of The High Republic and its Nihil adversaries introduced in Light of the Jedi. The characters all grew on me, particularly the crew of the Vessel. We got a rock with Geode, but the absurdity of the character and the symbolic physical nature of Geode’s steadfastness and resilience just puts a smile of joy and chuckles on the reader’s face. Affie bears similarity to Reath in her ethics, but unlike him has the experiences of a hard life, and far less trust. They are able to learn from one another. Leox serves as a guardian for Affie, but really more of a mentor, guiding her to independence, but also realizing that he in turn can learn a lot from her and begin to follow her inherent leadership. He also seems like a Star Wars version of “The Dude” from the Coen Brothers The Big Lebowski. Complete with “medicinal” Spice.

The relationship between Leox and Affie is very much one of Master and Apprentice, a ‘secular’ parallel to the Jedi relationship that Jora and Reath have. And the health of those mentorships contrasts with the more exploitative one that Affie has with the leader of the Byne Guild. (Or another I shouldn’t say more on.) Gray has already written a novel titled Master and Apprentice about Qui-Gon and Obi-Wan. But this novel could equally be titled the same, for it continues and expands those themes in fascinating ways then both within the Jedi Order and outside perspectives of the Vessel crew and also (as we eventually learn) the Nihil.

Reath may be Padawan to Jora, but he equally looks to the examples and strengths of the other Jedi he travels with. And he begins to also see their weaknesses and where they themselves struggle with dedicating themselves to the Force or the Jedi ways just as much as Reath does. As a Wayseeker, Orla very obviously exists as a questioning, uncertain soul, despite being an adult. But she also has shared a past traumatic mission with Cohmac, and these events continue to weigh on them – particularly Cohmac. (Aside: The reader learns more about this backstory through a series of passages spread through the novel that are given in flashback. They connect to the present plot, but overall I found this organization of this backstory to be intrusive, and the only part of Into the Dark that I never ended up appreciating.) Dez also expresses doubts and challenges that he still faces. Through them all Reath learns beyond his idealistic foundation that he began upon, and the uncertainty of reality both eases his feelings of guilt over his own struggles and gives him a sense of shared experience to fight for helping not just non-Jedi others, but also his fellow adherents.

Several times the various Jedi wonder how good it is that the Order completely eschews the Dark Side while striving to keep balance in all other things. Does this make the dangers of the Dark Side even worse? Does it leave them more vulnerable? Yet, the dangers of it now also seem all too clear and real as they discover more on the station, and are met with catastrophe and painful loss.

Into the Dark really delves into Good/Bad and Master/Apprentice dichotomies so well, and on so many levels. On the one hand the novel is an entertaining Star Wars adventure with a teen character coming-of-age that sets it in that YA fold. But underneath that is so much more complexity, not just of plot, but of these basic themes that make the Star Wars universe so effective and endearing.


ARCHITECTS OF MEMORY by Karen Osborne

Architects of Memory
(The Memory War Book I)
By Karen Osborne
Tor Books — September 2020
ISBN: 9781250215475
— Paperback — 336 pp.


Indentured salvage pilot Ashlan Jackson has a new work family, and hopes of gaining citizenship now seem attainable. Saved from a mining colony owned by the Wellspring Celestium Holdings corporation where she had little chance of ever getting free from debt, Ash has been rescued by the captain of the Auroran Coporation salvage ship Twenty-Five. Taken on as pilot, Ash has a new chance at life, and the possibility of earning credits to rise from indenture. Despite being physically freed from the colony mines, Ash secretly lives with a terminal illness, one born from contact with the Celestium fuel that powers humanity’s space-flight engines. Citizenship will not only provide Ash freedom, but will give her access to the cure. But, her past on the Wellspring mining colony still haunt her, especially the memories of her dead fiancé Christopher, who perished before he and Ash could both escape.

Though her life remains full of hard indentured work, Ash sees the small steps forward, and has become relatively comfortable around her shipmates, who all trust one another with their lives amid the harshness of empty space and alien threats. Surprising herself, the closest relationship Ash has built is with the captain of the Twenty-Five, Kate Keller. Their mutual attraction and budding romance is something they each try to control and keep secret from the others, to ensure the corporate functioning of the ship remains professional, and their futures’ safe.

The great wrench in their possible futures (but also the tremendous opportunity before the crew of the Twenty-Five) comes from war with the Vai, the first and only aliens met by star-faring humanity. Conflict with the Vai has existed since first contact, and thus far humanity has lost again and again: a devastating destruction of ships, colonies, and millions of lives. Until, everything changes above the colony Tribulation, where the Vai engaged several human corporate ships in battle. Something has happened to cause the Vai to retreat beyond the interstellar boundary known as the White Line. A terrible weapon has been left behind that corporations are now after, ostensibly to help save humanity, but also to get that competitive edge. The crew of the Twenty-Five is first on the scene to scavenge Vai technology and try to find this awesome weapon that can lead to salvation or annihilation. There, at Tribulation, they try and unravel the mystery of what occurred to pause the alien threat. Ash finds answers with both personal repercussions and larger meaning for memory and the nature of life.

Osborne begins Architects of Memory like a blast of lively brass at the start of a Romantic symphony, dropping readers right into the action of this salvage scene and slowly introducing the world, plot background, and characters through Ash’s point-of-view. Along with Captain Keller, we soon meet fiery and loyal war veteran Natalie Chan and Leonard Downey, the engineer who has a thing for Natalie and uses his and irreverent humor as “Chief Executive of Snark” to help calm the others. Also on the Twenty-Five are: Dr. Reva Sharma, an Auroran citizen and physician whose high birthright status and accomplishments sharply contrast with her assignment to the grunt-work of the lowly Twenty-Five‘s crew; the ambitious Executive Officer Alison Ramsay, whose taciturn efficiency compliments Captain Keller’s gentler leadership.

Just as one is getting to know these characters and their histories, Osborne presents more revelations, deepening mysteries, and new quagmires for her protagonist Ash or supporting cast. The pages of Architects of Memory flow with a well-paced intensity balancing action with twisty plots, character betrayals, and moments of quiet resilience when all seems lost or over. The novel embodies space opera as if part of some epic saga, yet manages to do this within a constrained setting of time (days) and location. The reader witnesses struggles, heroism, and failures among this salvage crew, but it feels like a personal story of something much grander in scope. In other words, this is a novel about a handful of specific people, but Osborne makes that individual scale also symbolic for human-wide conflicts of corporate class structure and alien contact.

These humanity-scale themes are nothing new to SF, of course, but Osborne makes them fresh and entertaining at the personal level of character interaction. And, on the front of alien first contact, she writes some fascinating concepts regarding the nature of the Vai. I would write and say more, but I definitely want to avoid spoilers on this. With governments failing to maintain the high cost of space travel/colonization due to fewer immediate benefits (the pandemic has again shown how awful we are at preparing for longterm betterment), private companies have taken on the risks of space exploration to invest in the far-future rewards that will come. Two hundred years from now in the time of Architects of Memory, this practice has led to the indenture and cut-throat (literally perhaps) corporate competition that forms the fabric of human society and injustice. While Osborne doesn’t necessarily take this theme significantly astray from what other space opera SF has done, it seems as if it plays an even larger part in the sequel novel.

I adored the characters of Ash and Natalie, whose interactions and friendship/conflict form the bulk of the novel’s momentum. Osborne puts these two women not just through traumatic pasts, but continued challenges that eat away at the core of their identities and dreams. Yet, they each stay as honestly true to themselves and their ideals as one could ever expect, and fight against tremendous odds for the slim chance of continued survival or eventual victory. The so-called Golden Age of SF soap opera is notorious for having pretty awful representation of females. The men are shown in a better light, but still read as far less than believable humans. They do great things, but they also seem so poorly challenged. As others have also recently done, Osborne corrects things in two ways thus: the genders are treated more equally, and in many regards the gender does not even need to matter (such as clothes or occupation or relationships); all are written with strengths and weakness, and their victories are earned. As much as I loved the character of Ash, I loved Natalie even more. This may be because she and her past still remain dark and mysterious to the readers in many ways (compared to so much of Ash’s point of view). I’m excited to see that the next novel actually is with Natalie as protagonist.

There is only one criticism I would make of Architects of Memory; it comes from its compressed setting, but I was very willing to look past and forgive it amid the abundant things the novel excels at. So many important events occur offscreen (in the past) to have made the present that the novel explores. OK, I admit that’s kind of a dumb statement. Of course the background to a story’s plot has huge monumental events that shape the plot. But here there are some whose absence lessens that impact that plot threads, character relationships, could otherwise have. One instance is the broad close-knit relationship between the Twenty-Five‘s crew, often described by Ash as a family. Cracks and tensions that form in this family, betrayals that occur, happen before readers have gotten to fully see the degree of trust and friendship there. Ash at least relate how things were different, however. The more unfortunate example is the relationship between Keller and Ash. Ash’s love for Christopher, Kate, and herself form the emotional heart of the novel, and it would have been great to see more of her together with the Captain. To Osborne’s credit, she does try to solve this with hallucinations that are a side-effect of the Celestium sickness. I can’t honestly think how Osborne could have solved this without creating other problems, so maybe my criticism here is totally unwarranted. I guess the point I’m trying to make is that my one regret from reading Architects of Memory is that with other constraints it couldn’t explore that relationship between these two great characters more.

With its excellent pacing, compelling characters, and riveting plot, Architects of Memory is a novel that makes the reader want to enjoy the ride in one sitting, or as few as possible. Although it has a sequel, Engines of Oblivion is the intended end to the duology, to my knowledge. And, if you were inclined to just stop with the close of this one, Osborne does a fantastic job at wrapping the events of this episode up in a satisfying way, which makes further adventures possible and welcome, but not obligatory.

For any interested, excerpts from Architects of Memory are available to read on Tor.com and the Tor/Forge blog. I’ll be starting my copy of Engines of Oblivion in the next days and will have a review of that up here shortly after completing, and I also hope to have up an interview with author Karen Osborne on the two novels and her machinations for the future. Look for those then, and if you haven’t yet started with this one, what are you waiting for?


LIGHTSPEED MAGAZINE #129 (February 2021) Edited by John Joseph Adams


The majority of the stories in this issue were average to good. Two of the three that stood above the rest are reprints: “Small and Bright” by Autumn Brown and “Sidewalks” by Maureen F. McHugh. The original other that I adored was “Me Two” by Keith Brooke and Eric Brown.

“The Mathematics of Fairyland” by Phoebe Barton — You feel as if this doesn’t bode well as a start to the issue. So you stop reading and go onto the next story.

“Bulletproof Tattoos” by Paul Crenshaw — A reprint from an anthology themed around the concept of: If This Goes On. The story serves as a satire on gun violence and the lengths that people (or technology) might go to prevent it, without really solving the heart of the issue. Works for its purposes of making a validly good point with interesting speculation, but I found the satire a bit too heavy to really enjoy it as a story.

“Me Two” by Keith Brooke and Eric Brown — A lovely short story about two souls who cannot be together, through a scifi twist. A young boy grows up realizing that every other day he wakes up as a girl on the opposite side of the world (and she switched with him). However the distance they each swap is more than just across one world. Beautiful take on connection and loss.

“Sidewalks” by Maureen F. McHugh — Reprint from an issue of Omni several years back, this fantastic story begins as the protagonist Dr. Gupta is given a psychiatric patient who seems to speak gibberish. Dr. Gupta soon discovers it is actually Old English, but what is her origin? The story unfolds almost like a mystery and is extremely satisfying.

“Church of Birds” by Micah Dean Hicks — Originally published in The Kenyan Review, this story comes inspired by the Grimm fairy tale “The Six Swans”. I’m not that well-read in fairy tales and while I’ve enjoyed some retellings or things done in their style, it’s not a sub-genre I gravitate toward. This does explore an interesting theme though around the repercussions that would come for a person who has been turned into some other form of animal, like a bird.

“The Memory of a Memory Is a Spirit” by A.T. Greenblatt — After leaving her island home, a caretaker returns to tend the overgrown environment and live again with the angry spirits she had abandoned. Although very straight-forward, it is beautifully written, and the themes/character are easy to empathize with or relate to.

“Small and Bright” by Autumn Brown — Reprint from Octavia’s Brood, a collection on my shelf that I really have to get around to reading. This tale of a post-disaster subterranean human civilization includes feminist themes around motherhood and discovery of hopeful new worlds. I found the biology in this of reproduction and symbiosis particularly interesting, but the beautiful language of it all, even when describing something horrendous, is just transcendent.

“Destinations of Beauty” by Alexander Weinstein — Part of a series of short stories written in the style of travel guides for exotic lands, this focuses on ones that – as the title indicates – feature beauty. Usually a beauty now lost or unappreciated amid noise or melancholy. I am not a personal fan of this kind of plotless story, but it does excel at evoking mood in the reader here.

The issue also features an excerpt of the novel Winter’s Orbit by Everina Maxwell, book reviews “On Fragile Waves, by E. Lily Yu” by LaShawn M. Wanak, “The End of Everything (Astrophysically Speaking), by Katie Mack” by Chris Kluwe, and “Latinx Screams, edited by V. Castro and Cynthia Pelayo” by Arley Sorg. Author spotlights by Audrey T. Williams, Benjamin C. Kinney, Elan Samuel, and Laurel Amberdine. Editorial by John Joseph Adams, plus Coming Attractions and other miscellany. Cover by Grandfailure.