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Sofía Rhei is an experimental and speculative author who has published more than 30 books. Her fantasy books for kids include the series El joven Moriarty (Fábulas de Albión) as well as many individual titles such Olivia Shakespeare (Edelvives). Her fantasy YA novels are Flores de sombra (Alfaguara) and its sequel, Savia negra. As a poet, she has been shortlisted for the Dwarf Star and Rhysling awards. Her first novel for adults is Róndola (Minotauro), a humorous fantasy fairytale retelling.
Estíbaliz Espinosa (A Coruña, Spain): writer. Musician. Philologist and sociologist. Dilettante astronomer. Her poetic work emerges from her curiosity about literature and science (linguistics, puns, maths, astrophysics or biology), and from her search for new approaches to content, on paper or screen She also writes—in Galician and Spanish—short stories and articles; she runs workshops and musical readings. Her most recent poetry book is Curiosidade.
Antonio Rivero Taravillo is a Spanish poet, novelist, critic, award-winning biographer and translator of Yeats, Hopkins, Milton, or Shakespeare. His latest poetry collection is El bosque sin regreso (2016). His biography of Juan Eduardo Cirlot was also published in 2016. His new translations of Poe and Donne are due in two anthologies in 2017.
Almijara Barbero Carvajal was born in Motril (Spain) and is still trying to figure out how to become real. Her short stories have appeared in the anthology Alucinadas II and in MaMut Magazine.
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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