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The Science Fiction Poetry Association recently announced the nominees for the 2005 Rhysling Awards, and I'm proud (and delighted) to say that Strange Horizons made quite a good show in the nominees list. The nominees included the following:

I've been informed by Mike Allen, the president of SFPA, that these ten nominations have earned us a place in the history of the Rhysling Awards; no single publication has ever had as many entries on the Rhysling ballot. While reading over the ballot, I couldn't help but notice that a number of Strange Horizons contributors, such as Bruce Boston and Heather Shaw and Marge Simon and G.O. Clark and Mikal Trimm, showed up with nominations from other publications. Since we do continue to think of ourselves as a community as well as a magazine, I'm proud of all of them too. Not only that, but two of our staff members, John Garrison and Roger Dutcher, are nominees as well, and should also be congratulated.

As far as I can tell, poets tend to have an even more difficult time than most other writers, at least when it comes to getting recognition and respect (and financial compensation) for their work. Part of our mission here at Strange Horizons has always been to expand opportunities in the under-represented sectors of the speculative fiction community, and speculative poetry falls squarely within that category. Poets are an active and important part of the speculative fiction landscape, but little of their work appears in the major publications and for the most part they're not included in the major awards. I'm glad that Strange Horizons has been able to play a role in bringing more attention to the poets, whether through the poetry we publish, through articles like the recent speculative poetry symposium, or through conversations on the Strange Horizons forums. I know that I've come to see speculative poetry in a whole new light, and I hope some of our readers have as well.




Susan Marie Groppi is a historian, writer, and editor. She was a fiction editor at Strange Horizons from 2001 to 2010, and Editor-in-Chief from January 2004 to December 2010.
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24 Mar 2025

The winner is the one with the most living wasps
Every insect was a chalk outline of agony / defined, evaluated, ranked / by how much it hurt
In this episode of the Strange Horizons Fiction podcast, Michael Ireland presents Reprise by Samantha Lane Murphy, read by Emmie Christie. Subscribe to the Strange Horizons podcast: Spotify
Black speculative poetry works this way too. It’s text that is flexible and immediate. It’s a safe space to explore Afrocentric text rooted in story, song, dance, rhythm that natural flows from my intrinsic self. It’s text that has a lot of hurt, as in pain, and a lot of healing—an acceptance of self, black is beauty, despite what the slave trade, colonialism, racism, social injustice might tell us.
It’s not that I never read realistic fiction and not that I don’t like it. It’s just that sometimes I don’t get it. I know realistic fiction, speculative fiction, and genre fiction are just terms we made up to sell more narrative, but I’m skeptical of how the expectations and norms of realism lurk, largely uninterrogated or even fully articulated, in the way readers, editors, and publishers interact with work that purports to depict quote unquote real life.  Most broadly defined, realistic stories depict the quotidian and accurately reproduce the daily events, characters, and settings of the world we live
Friday: Adam and Eve in Paradise by José Maria de Eça de Queirós, translated by Margaret Jull Costa 
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