Size / / /

Born to life in 1947 (France), and to science-fiction in 1964. Teaches French Literature and Creative Writing on and off at various universities in Quebec (since immigration, in 1973). “Fulltime writer” since 1990, (despite PhD. in Creative Writing, 1987), i.e. translator, SF convention organizer, literary editor (Solaris magazine), essayist. Still managed to publish fifteen novels and eight short stories collections in French, two in English (Slow Engines of Time, Blood Out of A Stone). Five novels translated in English, (The Silent City, In the Mothers' Land aka The Maerlande Chronicles—1993 Philip K. Dick’ s Special Award and a finalist of the 1993 Tiptree Award —Reluctant Voyagers, Dreams of the Sea (Tyranaël I, 2003), A Game of Perfection (Tyranaël 2, 2005) ; other translations in German. The more recent novels, Reine de Mémoire (2005-2007, five books), received four major awards in Quebec. Numerous short stories published in French and English. Also writes for children and YA. More than thirty awards in France, Canada, Quebec and the States, among which the Grand prix de la SF française ((1982), le Grand Prix de la SF et du fantastique québécois (three times), le Philip K. Dick Special Award, le Prix du Conseil québécois de la Femme en littérature (1998, a one-time literary award given by the Quebecois Council for Women’s Affairs on its twentieth anniversary), and seven Aurora awards (last one for Reine de Mémoire 5, 2007).

More information can be found at her SFWA author page or, in French, her website.


Élisabeth Vonarburg 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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