Size / / /

It means the headwaters of mass,

the treacly origins of inertia,
have been discovered. It explains

why rocks stubbornly refute
the argument of my toes; why galaxies
clump like moths around a dark flame;

how a whale floats in the sea dreamy
as a balloon, yet a small oyster
of a child clings heavy as a millstone.
Maybe it even explains why tragedy,

a metal and plastic bolide, hurtles
unstoppable through red lights;
how grief presses down on lungs
to squeeze out the last sweet breath;
why a black hole of absence hangs so heavy.

It has cost billions to build
god-sized synchrotrons aswim
with sticky-fingered particles,
and thousands of papers covered in black
specks of data like locusts
swarming on error-bar wings

to confirm what every family knows.




C. W. Johnson's poems have appeared in Asimov's, Stone Telling, Goblin Fruit, Star*Line, and non-genre magazines. His 2012 poem "Vigor Mortis" was nominated for a Rhysling Award. Johnson's fiction has been published in Analog, Asimov's, Interzone, The Other Half of the Sky, and elsewhere. He is a professor of physics specializing in theoretical nuclear physics, and his research articles appear in Physical Review C and elsewhere.
Current Issue
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
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By: Alexandra Munck
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Issue 13 Jan 2025
Issue 6 Jan 2025
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Podcast read by: Jenna Hanchey
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