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    Interzone #250 Jan: Feb 2014
    Interzone #250 Jan: Feb 2014
    Interzone #250 Jan: Feb 2014
    Ebook235 pages3 hours

    Interzone #250 Jan: Feb 2014

    By TTA Press

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    About this ebook

    The January–February 2014 issue of the 2013 British Fantasy Award winning magazine is the milestone issue; 250. It contains new science fiction and fan-tasy stories by Bonnie Jo Stufflebeam, David Tallerman, C. Allegra Hawksmoor, Rebecca Campbell, Greg Kurzawa, Caroline M. Yoachim, Georgina Bruce. The cover art is by Wayne Haag, and interior colour illustra-tions are by Richard Wagner, Martin Hanford, Ben Baldwin, and Dave Sen-cal. All the usual features are present: the 200th Ansible Link by David Lang-ford (news and obits); Mutant Popcorn by Nick Lowe (film reviews); Laser Fodder by Tony Lee (DVD/Blu-ray reviews); Book Zone: reviews of many lat-est releases including an interview with Libby McGugan and Jonathan McCalmont's Future Interrupted column.

    Fiction this issue
    The Damaged by Bonnie Jo Stufflebeam
    Bad Times to be in the Wrong Place by David Tallerman
    The Labyrinth of Thorns by C. Allegra Hawksmoor
    Beneath the Willow Branches, Beyond the Reach of Time by Caroline M. Yoachim
    Predvestniki by Greg Kurzawa
    Lilacs and Daffodils by Rebecca Campbell
    Wake Up, Phil by Georgina Bruce

    Artists this issue
    Wayne Haag
    Ben Baldwin
    Richard Wagner
    Dave Senecal
    Martin Hanford

    Books reviewed this issue
    Book Zone, edited by Jim Steel, has The Eidolon by Libby McGugan (with author interview conducted by Paul F. Cockburn), World After by Susan Ee, Benchmarks 1–3 by Algis Budrys, The Rabbit Back Literature Society by Pasi Ilmari Jääskeläinen, Drakenfeld by Mark Charan Newton, On the Steel Breeze by Alastair Reynolds, Parasite by Mira Grant, Dream London by Tony Ballantyne, Shades of Milk & Honey by Mary Robinette Kowal, Libriomancer + Codex Born by Jim C. Hines, Happy Hour in Hell by Tad Williams, Doyle After Death by John Shirley, The Man With the Compound Eyes by Wu Ming-Yi, Wonderbook by Jeff VanderMeer, Johnny Alucard by Kim Newman, plus Jonathan McCalmont's Future Interrupted column

    Nick Lowe's movie reviews this issue
    Frozen, Carrie, The Hunger Games: Catching Fire, Gravity, The Hobbit: The Desolation of Smaug, Walking With Dinosaurs: The Movie, Wolf Children

    Tony Lee's TV/DVD reviews this issue
    Man of Steel, Big Trouble in Little China, Elysium, Upstream Colour, Riddick, Scavengers, Games of Thrones Season Three

    LanguageEnglish
    PublisherTTA Press
    Release dateApr 29, 2014
    ISBN9781310682926
    Interzone #250 Jan: Feb 2014
    Author

    TTA Press

    TTA Press is the publisher of the magazines Interzone (science fiction/fantasy) and Black Static (horror/dark fantasy), the Crimewave anthology series, TTA Novellas, plus the occasional story collection and novel.

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      Book preview

      Interzone #250 Jan - TTA Press

      interzone_illustrator-_fmt

      SCIENCE FICTION & FANTASY

      ISSUE #250 (JAN-FEB 2014)

      Publisher

      TTA Press, 5 Martins Lane, Witcham, Ely, Cambs CB6 2LB, UK

      w: ttapress.com

      e: [email protected]

      f: facebook.com/TTAPress

      t: @TTApress

      Editor

      Andy Cox

      e: [email protected]

      Assistant Fiction Editor

      Andy Hedgecock

      Book Reviews Editor

      Jim Steel

      e: [email protected]

      Story Proofreader

      Peter Tennant

      e: [email protected]

      Events

      Roy Gray

      e: [email protected]

      Technical Assistance

      Marc-Anthony Taylor

      © 2014 Interzone and contributors

      Interzone 250

      TTA Press ISBN:9781310682926

      Copyright TTA Press and contributors 2014

      Published by TTA Press at Smashwords - v3

      License Note This emagazine is licensed for your personal use/enjoyment only. It may not be re-sold or given away to other people. If you would like to share this magazine with others please purchase an additional copy for each recipient. If you possess this magazine and did not purchase it, or it was not purchased for your use only, then please go to Smashwords.com and obtain your own copy. Thank you for respecting the hard work of the contributors and editors.

      CONTENTS

      IZ250cover-contents.tif

      INTERZONE’S 2014 COVER ARTIST IS WAYNE HAAG

      www.ankaris.com/blog

      libby-photo.tif

      LIBBY McGUGAN

      interviewed by Paul F. Cockburn

      INTERFACE

      EDITORIAL

      ANSIBLE LINK

      DAVID LANGFORD

      news, obituaries

      FICTION

      THE DAMAGED

      BONNIE JO STUFFLEBEAM

      illustrated by Ben Baldwin

      benbaldwin.co.uk

      BAD TIMES TO BE IN THE WRONG PLACE

      DAVID TALLERMAN

      illustrated by Richard Wagner

      [email protected] (email)

      THE LABYRINTH OF THORNS

      C. ALLEGRA HAWKSMOOR

      illustrated by Dave Senecal

      senecal.deviantart.com

      BENEATH THE WILLOW BRANCHES…

      CAROLINE M. YOACHIM

      illustrated by Martin Hanford

      martinhanford1974.deviantart.com

      PREDVESTNIKI

      GREG KURZAWA

      illustrated by Richard Wagner

      LILACS AND DAFFODILS

      REBECCA CAMPBELL

      WAKE UP, PHIL

      GEORGINA BRUCE

      illustrated by Richard Wagner

      REVIEWS

      BOOK ZONE

      books by Libby McGugan, Susan Ee, Algis Budrys, Pasi Ilmari Jääskeläinen, Mark Charan Newton, Alastair Reynolds, Mira Grant, Tony Ballantyne, Mary Robinette Kowal, Jim C. Hines, Tad Williams, John Shirley, Wu Ming-Yi, Jeff VanderMeer, Kim Newman, plus Jonathan McCalmont’s Future Interrupted

      LASER FODDER by TONY LEE

      blu-ray/DVDs, including Man of Steel, Big Trouble in Little China, Elysium, Upstream Colour, Riddick, Scavengers, Game of Thrones

      MUTANT POPCORN by NICK LOWE

      films, including Frozen, Carrie, The Hunger Games: Catching Fire, Gravity, The Hobbit: The Desolation of Smaug, Walking With Dinosaurs, Wolf Children

      EDITORIAL

      Resisting the art of confirmation

      Empire of Illusion is journalist Chris Hedges’ searing critique of the surrender of American culture to corporate power and its descent into consumerism. His key concern is the way ‘free market’ pressures influence artists, academics and journalists to confirm the expectations of their audiences and encourage them to find refuge in the familiar. For Hedges, the outcome is that we become trapped in the linguistic prison of incessant repetition. We narrow our horizons and limit our experiences. Settling for repetition of the familiar reinforces prejudices and produces art that rejects complexity, ignores ambiguity and denies the possibility of self-criticism.

      A swift search-engine rummage for sf movies due for release in 2014 yields a list so loaded with the rehashed, resuscitated and desperately made-over it’s beyond satire. Encores and resurrections include the X-Men, Spider-Man, Captain America, Robocop, Planet of the Apes, Godzilla and the latest addition to Michael Bay’s execrable Transformers franchise. Vampire Academy, Maze Runner, Edge of Tomorrow and Guardians of the Galaxy are fresh titles on screen but have well established roots in print, while Tomorrowland has links to a future-themed domain at Disney’s theme parks. Only the Wachowskis’ Jupiter Ascending appears to be based on a wholly original narrative. Some of these films will be polished and entertaining, but where are the stories offering a fresh perspective on the changes we’re living through and the prospects we face?

      Sadly, talented people collude in creating a culture of confirmation. The Guardian is flogging Masterclasses with ‘name’ writers in collaboration with the University of East Anglia: for £1500 you have three hours per week for three months to tackle crime, history or travel writing; for £4000 you get six months on storytelling, first drafts or ‘new biography’. We’re fans of adult learning, but in this case the emphasis on tools, techniques and conventions risks cultivating a ‘writing by numbers’ approach. Craft is important but it’s the spark of empathy, originality and vision that makes a story unforgettable. We look forward to the Guardian-UEA ‘Write like William Blake Masterclass’.

      We’re realistic: we know Interzone has no real influence on the literary mainstream. But we’re determined to do what we can to resist a culture of confirmation, exploitation and mindless consumption. We’re too shy to blow our own trumpet at TTA Towers, but as we celebrate the publication of our 250th issue and David Langford’s 200th Ansible Link, we’re happy to reveal a few generous words of encouragement from one of our contributors, Georgina Bruce:

      "What really makes Interzone special is its vision. Innovative, subversive, disturbing, political, daring: Interzone is never afraid to break the rules. To be part, in however minor a way, of such a bold literary project is a true privilege and a source of joy."

      ANSIBLE LINK

      DAVID LANGFORD

      Iain Banks was Twitter’s ‘top UK news trending topic’ for 2013, with ‘UK storm’, ‘NHS’ and Seamus Heaney in second, third and fourth places. His pet hate Margaret Thatcher came eighth and Richard III ninth. (Independent)

      Awards. Arthur C. Clarke Award for Impact of Imagination on Society (not the sf award): Ursula K. Le Guin. • Eleanor Farjeon Award for outstanding contribution to children’s books: David Almond. ( Guardian) • National Book Award Book of the Year for 2013: Neil Gaiman, The Ocean at the End of the Lane . • Saltire Society First Book of the Year : Tim Armstrong, Air Cuan Dubh Drilseach ( On a Glittering Black Sea), a space opera praised by the judges as ‘the first genuine sci-fi novel in Gaelic.’ ( Scotsman) • SFWA Grand Master for 2014: Samuel R. Delany.

      Brian Aldiss quit the habit: ‘…these days I don’t read any science fiction – or do I? Now I only read Tolstoy.’ ( Guardian)

      Peter Nicholls writes: ‘I have become, appropriately, the first cyborg editor of a science-fiction encyclopedia.’ The ravages of Parkinson’s Disease have been countered by electrical Deep Brain Stimulation via fine wires inserted into the sub-thalamic nucleus of his brain: ‘The result is immediate and spectacular. I now speak much more clearly, walk normally, no longer fear falls, look younger (and according to some women, handsomer).’ I am carefully not rereading Michael Crichton’s The Terminal Man.

      K.M. Peyton, Carnegie Medal-winning children’s author, received an MBE in the New Year Honours. Her supernatural fiction includes A Pattern of Roses (1972) and Unquiet Spirits (1997).

      Court Circular. Asterix artist Albert Uderzo is in dispute with his daughter and son-in-law over the mighty cartoon franchise. He plans to sue them for ‘psychological violence’ while they say he’s mentally ill, being cruelly exploited, etc, and filed a lawsuit about this in 2011. (BBC) • Bob and Harvey Weinstein of Miramax, which sold the Hobbit film rights to New Line/Warner in 1998, are suing the studio for $75+ million, claiming the film was split into three ‘solely to deprive plaintiffs’. In what Warner calls ‘one of the great blunders in movie history’, Miramax accepted 5% of the gross for one film only, assuming there could be only one. (BBC) • Frank Darabont, creator of The Walking Dead, is suing the US AMC TV network for ‘tens of millions of dollars’ for (a) sacking him before the second series, when his profit share would increase; (b) eliminating paper profit through a ‘self-dealing’ fiddle whereby the AMC affiliate that makes the show licenses it to AMC at less than the production cost. (BBC)

      Samuel Butler (1835–1902) was not available for comment on the Erewhon brand of gluten-free breakfast cereals distributed by Erewhon Markets, Los Angeles. ‘Eerfnetulg,’ he failed to say.

      Ghost Story. ‘Nelson Mandela revisited his cell several times after his death.’ (BBC website caption)

      Censored! The Saudi Arabian Commission for the Promotion of Virtue and Prevention of Vice raided bookshops and ordered them to stop selling the sf novel H W J N by Ibraheem Abbas and Yasser Bahjatt (translator of the English edition). This treats the jinn in sf terms and features human/jinni romance, horrifying the Saudi equivalent of our ‘Harry Potter is satanic!’ loons. A shocked Facebook post which may have triggered the ban warned that this could tempt teenage girls to experiment with…Ouija boards.

      Mary Shelley’s original notebook drafts of Frankenstein can be viewed free online at shelleygodwinarchive.org/contents/frankenstein.

      Margaret Atwood broadcast reassurance to a Radio 4 chat programme audience: ‘If you get caught by the zombie apocalypse, stick with me – I’ll take care of you.’

      Court Circular II. After Hummingbird Productions’ November announcement of a 2015 sequel to It’s a Wonderful Life (1946), Paramount Studios made ominous noises about owning all the ‘necessary rights’ which Hummingbird say are in the public domain. (BBC) • Stef Coburn, whose father Anthony Coburn scripted the first ever Doctor Who storyline and introduced the Tardis, claims copyright on the police-box time machine concept (registered by the BBC in the 1980s, never previously challenged) and demands better recognition of his parent’s ‘seminal contribution’; also money. (Independent)

      Thog’s Masterclass. Dept of Feminist Awareness. ‘Her breasts were a smaller version of the woman herself – massive, firm and overpoweringly impressive.’ (Isaac Asimov, Foundation and Earth, 1986) • Eyeballs in the Sky. ‘Then his eyes moved up along the rough tweed of his trousers to the shorter motion of his thighs…’ (Lester del Rey, ‘The Monster’, 1951 Argosy) • Anatomy Dept. ‘She owned a pair of well-filled legs…’ ‘His tie hung limply like a lost erection.’ ‘Coffee, he said, his voice as cool as his neck was hot.’ ‘The gaudy decor bounced off his eyeballs…’ (all Kitty Sewell, Ice Trap, 2005) • Secret Kung-Fu Death Grip. ‘Feng held the man’s eyes, shook his head.’ (Ramez Naam, Nexus, 2013) • Arithmetic Dept. ‘The three of us have been a couple from the beginning…’ (Laurell K. Hamilton, Kiss the Dead, 2012) • True Romance (Hard-Boiled Dept). ‘Butler pumped hard now and felt himself getting crazy. Somebody had stuffed eight pigeons up his ass and he felt like he was going to explode. The pigeons flew through his penis and he bit his lip as they flew out the tip. He hung onto her shoulders for support and she fell back against the mirror on the wall, her eyes rolling in her head, because the pigeons had flown into her egg roll and were flapping their wings around in there.’ (Philip Kirk, Chinese Roulette, 1984)

      R.I.P.

      John Fortune (1939–2013), UK actor and satirist whose BBC 2 series In the Looking Glass (1978) explored SF themes, died on 31 December aged 74. His 1971 A Melon for Ecstasy, a spoof erotic novel about a literal tree-lover, was not quite genre fantasy…

      Richard Gallen, US publishing attorney, book packager and investor who provided financial backing and advice to various publishers including Baen Books, Bluejay, Tor and Carroll & Graf, died on 3 December aged 80.

      Joel Lane (1963–2013), UK horror/urban fantasy author and editor whose collection Where Furnaces Burn won a 2013 World Fantasy Award, died unexpectedly on 25 November; he was only 50. He had published short stories since the 1980s, winning two British Fantasy Awards; his first novel was From Blue to Black (2001).

      Joseph J. Lazzaro (1957–2013), US author of book-length nonfiction who published two collaborative stories and three essays in Analog , died on 18 November.

      Doris Lessing (1919–2013), distinguished literary author who besides many other honours in her long career won the 2007 Nobel Prize for Literature (and was splendidly cranky about this award), died on 17 November at the age of 94. Several of her novels have fantastic content; she made unashamed use of traditional sf devices in the ‘Canopus in Argos: Archives’ sequence opening with Shikasta (1979), though this was not her finest work. She was a highly approachable if somewhat awe-inspiring guest of honour at the 1987 Brighton Worldcon.

      Hugh Nissenson (1933–2013), US author who published sf in Playboy as early as 1964 and whose sf novel was The Song of the Earth (2001), died on 13 December aged 80.

      Robert Reginald (Michael Roy Burgess, 1948–2013), US bibliographer, editor, publisher and author whose Borgo Press (1975–1998; 2004–current) issued a great many important critical monographs about sf and fantasy, died on 20 November aged 65. His bibliographical magnum opus was the two-volume Science Fiction and Fantasy Literature: A Checklist, 1700–1974 (1979).

      Graham Stone (1926–2013), Australian bibliographer and publisher whose reference works ran from An Index to the Australian SF Magazines, Part One (1955) to the 2010 revision of his monumental Australian SF Bibliography, 1848–1999 (2004), died on 16 November; he was 87.

      Ned Vizzini (1981–2013), US author whose four YA novels include sf and fantasy, committed suicide on 19 December; he was 32.

      Colin Wilson (1931–2013), UK author who achieved instant success with his study of literary and real-world ‘outsiders’ in The Outsider (1956), and later became better known for very many nonfiction works on crime and the paranormal, died on 5 December aged 82. His ideas about the unexplored potential of the human mind took sf form in his Cthulhu Mythos novels The Mind Parasites (1967) and The Philosopher’s Stone (1969), and in more conventional sf terms in the late-1980s YA ‘Spider World’ sequence. The Space Vampires (1976), a homage to A E van Vogt’s ‘Asylum’, was filmed as Lifeforce (1985). He was my last surviving collaborator on The Necronomicon (1978) edited by George Hay.

      THE DAMAGED

      BONNIE JO STUFFLEBEAM

      illustrated by Ben Baldwin

      the damaged.tif

      I can’t escape I can’t escape my job. Everywhere I go I see ads for the company. On the subway, the sidewalks with our company logo engraved in concrete, the talking billboards which feature the intertwined bodies of flawless men and women in the downtown AdZones. I’m good at what I do. PlayMatez look and feel real: warm skin, a clean but undeniably human smell. Only real isn’t a word we’re supposed to use. Of course they feel real. They are real. What I mean is they feel the same as blood-and-guts people do. They walk, talk, and fuck the same.

      Except for the damaged ones.

      The damaged eat with their hands, like savages. They’ll eat whatever you give them – stale cornbread, powdered milk, reconstituted beef cutlets – and demand nothing more. They wear this far off expression whenever they’re addressed, as if they’re calculating the benefits of an answer. When the damaged speak, they speak in near riddles, riddles to which I have always suspected there are no solutions.

      I work in the building where they make PlayMatez, both the damaged and the ones that work right. It’s a fifty-story skyscraper on the edge of the industrial district, which looks like most every other district, shiny buildings packed tight as the pedestrians rushing down grimy sidewalks. Except in the industrial district, smog fills the streets from a ten-hour flow of traffic, the constant hum of machinery operating inside. Our factory is one in a long line of unidentifiable factories, all black. In the basement, human and robotic workers toil over the assemblies. I’ve been down there only twice. The workers’ bodies are all bone and bulk; our robots are constructed from bioengineered human muscle. That and Cyberskin, our own patented silicone/skin blend. The only way you could tell the humans from the robots would be to look at their insides. It’s my job to know what those look like. I build the internal networks, sculpt intestine from tubing. My work is replicated by the millions.

      My workshop on the third floor is concrete and steel. Outside the door is a silver plaque with my name in bold letters: ROBIN KIRKLAND. The inside has a window on which I’ve hung purple curtains to make the place seem homey. In the hazy daylight, I carve muscle tissue with a sculpting knife. I bend microfilaments into circulatory shapes. I work alone, hunched over a table that lines the whole back wall of the workshop, and shape the parts I’m given until they look satisfactory. Then I ease them down into the plastic PlayMate mold to make sure they’re the right size.

      Once I’ve got all the parts in there, save the upper muscle layer, I often stop and stare. Inside the mold, thin, green wires reach like a hand into the head, crisscross through the torso and down into the arms, the legs. They don’t carry blood through the body – our PlayMatez are bloodless – but they do carry heat. The handbook says when the wires have been activated, they glow blue like veins. Some of the organs we don’t bother with. The ones that filter waste are useless, as any

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