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David C. Findlay is a thingmaker in music, visual art, text & other media. He is also a recovering Canadian who now resides with his main squeeze in Southern California. David still says "I'm sorry!" when people bump into him & spells "humour" wrong but is otherwise acclimatizing to his new home. His essays and poetry can be found in First Person Queer: Who We Are (So Far), Dark Matter: Reading the Bones, and The Best of Lady Churchill's Rosebud Wristlet. "Stolen Song" first appeared in Nalo Hopkinson's Midnight Robber.


David C. Findlay in our archives
Current Issue
28 Nov 2022

The comb is kept in a small case and a magnifying glass is there for you
Know that the end / is something that you cannot escape here.
I wanted to ask francophone African speculative authors how they feel, how non-Black francophone African authors relate to the controversy, but also how they position themselves either as Afrofuturists or Africanfuturists, or as neither.
The new idea is to have the sixth sensors oversee the end of humanity.
By: RiverFlow
Translated by: Emily Jin
In conclusion, I argue that SF fanzines in China mostly played a transitional role. That is, when no professional platforms were available to publish articles and stories, fanzines stepped in. Though most of those fanzines did not last very long, they played the important role of compiling and delivering information. The key reason why I identify those magazines as fanzines is because all the contributors joined out of their interest in SF and worked for free.
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