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Apologies for the lack of updates here this week -- as you'll have seen if you have checked the fund drive status, things have been ticking along, and we released the next bonus material from our special issue a couple of days ago: A. T. Greenblatt's story, "Dido, Retold." Here's the opening, to tempt you in:

Act I: The Curse, Such As It Stands

Dido walks through her slumbering city like an old memory: tired, but with a determined stride. It’s dawn, the most forgiving time of day, when sleepy shadows still dull the world’s harsh lines and grime. In the soft unassuming light of morning, the gods’ curse always feels a little more bearable.

The street she’s walking down is long, and the bag slung over her shoulder is impossibly heavy. But she moves forward, slipping past closed shops with graffiti-covered grilles, past balconied apartments with untamed gardens, past so many sleeping lovers in their beds. She alone is awake, aware and carefully searching, watching, feeling her city.

Hunting.

Why not read the rest?

We're also getting close to our next tier of content -- in fact at the time of writing we're only just over $100 away from it -- which is an interview of Garth Nix by Aishwarya Subramanian. If you want to see that unlocked, you know what to do!

And in fact, there's an opportunity here for your support to count double, because we are adding a Patreon-specific goal! We currently have 250 patrons; as and when we reach 300, we will publish Lawrence Schimel's translation of "Terpsichore", a story by Argentinian writer Teresa P. Mira de Echeverría. So if you support at Patreon, it will count towards unlocking that and towards unlocking the regular bonus content.

Teresa P. Mira de Echeverría is both a university professor with a doctorate in philosophy and the direct of the Center for Science Fiction and Philosophy in the Research Department of the Human Vocation Foundation. She has published articles and stories in numerous periodicals and anthologies, including Axxón, Buenos Aires Próxima, Cuá'sar, Fición Científica, and others. Her novelette Memory is published by Upper Rubber Boot books and was reviewed for us by K. Tait Jarboe in July ("a work that is at once lovely and terrifying in its implications"). You can find her blog here; and just to whet your appetite, here's how "Terpsichore" begins:

From Vasilyevsky Island (above the park located right in front of the Naval Museum and between the two rostral columns that marked the Neva's bifurcation), the Terpsichore's static motors deafened all of St. Petersburg. The city was ready for its beloved daughter to make the first non-motile journey in history: the ship, which would never leave the city, would traverse half the galaxy.

The sound had become a background hum and nobody noticed it any longer. Or perhaps it wasn't a sound but instead a vibration, like the deepest tone of a double bass, felt by the skin more than the ears.

Intrigued? Then right this way to our Patreon... and don't forget, it's only a taste of what we'll be able to publish if we reach the stretch goal for Samovar.



Niall Harrison is an independent critic based in Newcastle upon Tyne, UK. He is a former editor of Strange Horizons, and his writing has also appeared in The New York Review of Science FictionFoundation: The International Review of Science Fiction, The Los Angeles Review of Books and others. He has been a judge for the Arthur C. Clarke Award, and a Guest of Honor at the 2023 British National Science Fiction Convention. His collection All These Worlds: Reviews and Essays is available from Briardene Books.
Current Issue
22 Apr 2024

We’d been on holiday at the Shoon Sea only three days when the incident occurred. Dr. Gar had been staying there a few months for medical research and had urged me and my friend Shooshooey to visit.
...
Tu enfiles longuement la chemise des murs,/ tout comme d’autres le font avec la chemise de la mort.
The little monster was not born like a human child, yelling with cold and terror as he left his mother’s womb. He had come to life little by little, on the high, three-legged bench. When his eyes had opened, they met the eyes of the broad-shouldered sculptor, watching them tenderly.
Le petit monstre n’était pas né comme un enfant des hommes, criant de froid et de terreur au sortir du ventre maternel. Il avait pris vie peu à peu, sur la haute selle à trois pieds, et quand ses yeux s’étaient ouverts, ils avaient rencontré ceux du sculpteur aux larges épaules, qui le regardaient tendrement.
We're delighted to welcome Nat Paterson to the blog, to tell us more about his translation of Léopold Chauveau's story 'The Little Monster'/ 'Le Petit Monstre', which appears in our April 2024 issue.
For a long time now you’ve put on the shirt of the walls,/just as others might put on a shroud.
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