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Life is cost, throwing good years after bad
Why make more of it, why shovel out bits of
Yourself to create a monument to all you haven’t done?

I have so many questions for my father
Do all ships rock like they are being tossed in waves?
Did you hold your breath when you land?
Are you not my father, Duke?
Shouldn’t I look into my face & see you
Winking back like the stars?

The seams of your waistcoat have snagged
On brush & cacti, leaving a trail
Of stories unwinding, voice swallowed.

If I planted my feet & called your name
Would a storm come churning through
The endless sky? Do spaceships sound
Like helicopters? Churning & sloped in hover?

Does it sound like a man afraid to say
His own name aloud
Afraid of what it will summon?



Lauren Parker is a writer and visual artist in Oakland, California. She has written for The Toast, The Racket, Xtra Magazine, Catapult, and Autostraddle. She’s the winner of the Summer of Love essay contest in The Daily Californian, the Vachel Lindsay poetry prize, and is the author of the forthcoming chapbook We Are Now the Thing in the Woods.
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.
Issue 20 Mar 2023
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Issue 30 Jan 2023
By: Catherine Rockwood
By: Romie Stott
Podcast read by: Ciro Faienza
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Podcast read by: Romie Stott
Podcast read by: Maureen Kincaid Speller
Issue 23 Jan 2023
Issue 16 Jan 2023
Issue 9 Jan 2023
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