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Direct link: Utrechtenaar (Part 1 of 2) (mp3)

In this episode of the Strange Horizons podcast, editor Anaea Lay presents Paul Evanby's "Utrechtenaar (Part 1 of 2)." You can read the full text of the story, and more about Paul, here.

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Anaea Lay lives in Chicago, Illinois where she writes, cooks, plays board games, reads too much, and questions the benevolence of the universe. Her work has appeared in many places including Apex, Penumbra, Lightspeed, Daily Science Fiction, and Nightmare. She lives online at anaealay.com.
Paul Evanby is a Dutch writer with several novels (e.g. De Scrypturist) out from Meulenhoff Boekerij, as well as two short story collections. His Dutch short fiction has won the Paul Harland Prijs twice. His English-language stories have appeared in Interzone, HGMLQ, Elastic Book of Numbers, Nemonymous, and others. He is @evanby on Twitter.

Vlada Monakhova is an illustrator and concept artist of fantasy, horror, and science fiction. Stranded in the frozen Alberta prairies, she works as a freelancer and chips away at a variety of personal projects when the local wildlife allows for a break. She fancies video games, comics, movies, and all things spooky.
Current Issue
27 Mar 2023

close calls when / I’m with Thee / dressed to the nines
they took to their heels but the bird was faster.
In this episode of Critical Friends, the Strange Horizons SFF criticism podcast, Reviews Editors Aisha Subramanian and Dan Hartland talk to novelist, reviewer, and Strange Horizons’ Co-ordinating Editor, Gautam Bhatia, about how reviewing and criticism of all kinds align—and do not—with fiction-writing and the genre more widely.
If the future is here, but unevenly distributed, then so is the past.
He claims that Redlow used to be a swamp and he has now brought them into the future before the future. Yes he said that.
My previous Short Fiction Treasures column was all about science fiction, so it’s only fair that the theme this time around is fantasy.
I’ve come to think of trans-inclusive worldbuilding as an activist project in itself, or at least analogous to the work of activists. When we imagine other worlds, we have to observe what rules we are creating to govern the characters, institutions, and internal logic in our stories. This means looking at gender from the top down, as a regulatory system, and from the bottom up, at the people on the margins whose bodies and lives stand in some kind of inherent opposition to the system itself.
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