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Direct link: July poetry (MP3)

In this episode of the Strange Horizons podcast, editor Anaea Lay presents poetry from the issues.

  • “La Muerte" by Randi Anderson, read by Randi Anderson. You can read the full text of the poem and more about Randi here.
  • “A Self-Contained Riot of Lights" by Bogi Takács, read by Bogi Takács. You can read the full text of the poem and more about Bogi here.
  • “Metamorphosis" by Juan Martínez, read by Julia Rios. You can read the full text of the poem and more about Juan here.
  • “Grandmother" by Leslianne Wilder, read by Anaea Lay. You can read the full text of the poem and more about Leslianne here.
  • “VIMVIMRECOIL" by Heather Knox, read by Amelia June. You can read the full text of the poem and more about Heather here.



Amelia June is a reader.
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.
Bogi Takács (they/them or e/em) started working on the poetry / flash fiction series “Jobs for Magical People (That Do Not Involve the Military)” in response to the Israeli invasion of Gaza. E would like to ask you to consider how authoritarian power manifests the world over (including in the stories we tell), then do something to counteract it. Bogi is a writer, poet, critic and scholar of speculative literature; and also a Hungarian Jewish immigrant to the US, a winner of the Hugo and Lambda awards, and a finalist for other awards like the Ignyte and the Locus. Eir second short story collection Power to Yield and Other Stories was published earlier in 2024 by Broken Eye Books, and eir poetry collection Algorithmic Shapeshifting is available from Aqueduct.
Heather Knox earned her MFA in Poetry from the Iowa Writers' Workshop. Her work has appeared or is forthcoming in decomP magazinE, Columbia Poetry Review, [PANK], and others. She currently lives in Washington with her husband and cat. She blogs at Almost Midwest.
Juan Martínez poems have appeared in An Island of Egrets haiku anthology and the San Diego Poetry Annual 2008; he's the author of Spooky Digital & Other Poems, Lab4, Patmos, High Voltage, and The God Poems, available through his website at jmebooks.tumblr.com. He is on Twitter @soldecactus.
Julia Rios is a queer, Latinx writer, editor, podcaster, and narrator whose writing has appeared in Latin American Literature Today, Lightspeed, and Goblin Fruit, among other places. Formerly a fiction editor for Strange Horizons, their editing work has won multiple awards, including the Hugo Award. Julia is a co-host of This is Why We're Like This, a podcast about how the movies we watch in childhood shape our lives, for better or for worse. They've narrated stories for Escape Pod, Podcastle, Pseudopod, and Cast of Wonders. Find them on Twitter as @omgjulia.
Leslianne Wilder is the current terminus of a straight line of armed East Texas matriarchs. She currently resides in Oxford, in the United Kingdom, with an exceptional spouse. Her short fiction has been published in Shock Totem, Beneath Ceaseless Skies, and Psychos: Serial Killers, Depraved Madmen, and the Criminally Insane, among others. This is her first published poem. She blogs at Skull Honey.
Randi Anderson is a writer, musician, teacher, and foreign language enthusiast from rural Pennsylvania. She credits her travels and her students, as well as her gluttonous reading habit, for helping to inspire her fiction and poetry. Her website is www.randianderson.net.
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
Friday: Adam and Eve in Paradise by José Maria de Eça de Queirós, translated by Margaret Jull Costa 
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