The New Mythology

by Sheila Finch

 

When I retired after more than thirty years teaching, I decided it was time to pursue volunteer work. My Episcopal church in Long Beach runs a program on Saturday mornings for the homeless, offering a shower, a change of clothing, and hot food. So I signed up for one morning a month. It was a little intimidating at first, over a hundred people of all ages milling about in a small courtyard waiting their turn, some with mental or substance abuse problems. But as time went by, I got to know many of the regulars and learned something about their backgrounds and their unique stories, something akin to finding buried treasure for writers.

A number of the Saturday morning visitors are veterans, and one day in the middle of November, a gentleman told me how angered he’d been to read that vandals had desecrated graves in the VA cemetery in Westwood.  “I took the bus up to LA,” he said, “and I helped clean up the mess! It was the least I could do for my buddies.” I was very moved by this story, but it took several months before I could see a way to use it. First I wrote a story about a homeless woman—a composite of many such women who came to our shower program—and a visitor from the future. That one (“Field Studies”) appeared in Asimov’s in the May/June issue of 2017. I worked on other projects after that, but the veteran’s story wouldn’t go away. Then one day I had an insight about how to use the material, and “Survivors” was the result.

Continue reading “The New Mythology”

Q&A with Michael Cassutt

Michael Cassutt’s latest novelette, “Unter,” is featured in our current issue [on sale now]. He also answered a few of our questions about the story’s creation and the other projects he’s been working on.

 


Asimov’s Editor: How did this story germinate? Was there a spark of inspiration, or did it come to you slowly?

MC: The genesis was Uber, of course, reversing the name and wondering what sort of sharing might result. Since people in hypnotic or drugged states are frequently said to be “under,” the idea of brain- or experience-sharing was logical.

 

AE: What is your history with Asimov’s?

MC: I published my first story, “A Star is Born,” in 1983 and have contributed half a dozen other pieces since then. It is the SF magazine I have read longest and most consistently. Continue reading “Q&A with Michael Cassutt”

What We Talk About When We Talk About Science

by Octavia Cade

 

“The Backward Lens of Compromise” [in the current issue on sale now] is the third novelette I’ve sold to Asimov’s over the past couple of years, and they all hold to the same theme: scientists and science history. This one’s no different, and in some ways it’s even more political than the last, in which Soviet biochemist Lina Stern stood up to fascism.

This one’s about science education.

I’ve a PhD in science communication. How we talk about science matters. How we share it—who we share it with—matters more. Science shouldn’t be an elitist subject. It should be open to everyone, because a society that is literate in science is a society that understands objectivity and method, rationality, the idea of proof and logic. Science is a means of teaching critical thought that percolates through into other areas of our culture and society. We want a community that thinks, that is able to weigh evidence, that doesn’t swallow blindly every claim made before it.


How we talk about science matters. How we share it—who we share it with—matters more.


 

We don’t want whooping cough making a comeback because people are afraid that vaccines cause autism, for instance.

Public education is expensive. Whether it’s in your country or in mine, I’m willing to bet that education accounts for a great chunk of the national budget.

I’m also willing to bet it’s not enough.

Science education, particularly in schools, is a barometer of this. Science is a high-priced subject to teach. It’s not just the books—it’s the school labs, the chemicals they need, the equipment. If cuts need to be made, science is an easy target. And frequently it’s the kids from poorer communities, with less well-equipped schools that have fewer resources, that suffer the most from this.

Poor kids need science education too. They deserve the same level of attention and resources in their classrooms as their more affluent neighbours—and if they don’t get it, society as a whole suffers.

“The Backward Lens of Compromise” is a story about science education. There’s a magic observatory in there too, a shape-shifting telescope, potted histories of astronomers who had their own ways of seeing science, of passing it on. And it’s got kids who learn from them what science can do for them. Please take a look.

 


 

Octavia Cade has sold stories to Clarkesworld, Shimmer, and Apex Magazine, amongst others. She’s got a particular interest in mashing up science history with speculative fiction, and this is her third Asimov’s novelette on the subject. Octavia’s also got a PhD in science communication, which is why “The Backward Lens of Compromise” is so determined on the value of proper science education in schools. The author once traveled around Europe with a backpack so stuffed with telescope there was hardly room for clothes. She attended Clarion West 2016.

Q&A with Leah Cypess

Author Leah Cypess mined her experiences with parenting and social media to give us her latest work of fiction in our current issue on sale now. Here, she explains the story’s beginnings and how it fits in with her writing on a certain theme.

 


 

Asimov’s Editor: “Attachment Unavailable” is such a fun story to read—was it equally fun to write?

LC: Oh, yes. This was one of the most fun stories I’ve ever written—I kept giggling as I was working on it.

 

AE: How did this story germinate? Was there a spark of inspiration, or did it come to you slowly (perhaps after time on parenting groups)?

LC: Good guess! I think the answer is all of the above. In the beginning, this wasn’t a story. I read a Facebook exchange among some friends of mine, commenting on a parenting article, and it irritated me enough to make me write a little parody. I posted it; it went over well with my friends, and then I moved on and forgot about it.

Years later, I created a PDF of my Facebook history, for the purpose of creating a scrapbook of my kids’ funny comments. While going through the PDF, I came across that parody and thought, “I should do something more with this . . .” and then wrote the rough draft of the story in less than an hour.

I spent a lot of time fine-tuning it, of course, but the most time-consuming part of writing this story was figuring out how to format it; the process required me to keep checking Facebook, which was definitely not the most efficient way to get a story ready for submission.

 

AE: Are there any themes that you find yourself returning to throughout your writing? If yes, what and why? Continue reading “Q&A with Leah Cypess”

Q&A with Ian R. MacLeod

Ian R. MacLeod, whose new novelette you can find in our current issue [on sale now], gives us some insight into his influences and inspirations—for “Ephemera” and his writing career in general.


 

Asimov’s Editor: As our readers will see, Jane Austen’s work plays a role in this story. Can you talk about how that came about?

Ian R. MacLeod: I have to admit that I’m not a great fan of Jane Austen. Yes, I can admire what she does in a technical sense, at the very least, in that she set a template for a certain kind of fiction (not to mention movie) whose popularity continues to this day. I can even appreciate that it’s no small feat to be frothily light and mildly funny. If she were described of as an interesting minor author, I’d probably be in agreement. But does she really say anything that was particularly interesting or new about humanity, even at the time her work was written, and within the narrow social confines within which she chose to set her works? I would argue not. Then there’s all the heritage nonsense and reverence which now gathers around her novels . . .

So, and having said that, I guess I’m left with the question of why I chose an early scene from Pride and Prejudice as the way to introduce KAT, the robot protagonist of my story, who’s basically a very lonely librarian. I think it was because I could see that, living with the rather grim realities she has to deal with all alone on her asteroid, I could fully understand why she might want to seek out some light relief. For me when it comes to humorists, it would probably be P.G. Wodehouse, but KAT’s not me. Then, of course, I wanted to choose a well-known classic which most readers will be generally aware of, even if they hadn’t read it, which considerably narrows the field. I suppose I could have had Kat imagining herself fighting against Napoleon in War and Peace, but somehow Pride and Prejudice seemed like a suitably daft yet reasonable book for an intelligent robot to have a particular fondness for, especially as it deals with the romantic love she clearly longs to experience.

Continue reading “Q&A with Ian R. MacLeod”

The Moral of the Big Bang

by Michael Meyerhofer


Give Michael’s new poem—“The Big Bang Was Not”—a read, in our current issue on sale now.


 

Because I occasionally have nothing better to do than sit around contemplating the Big Bang, a while back, I found myself trying to grasp how the Universe could begin from a fixed point, then expand into infinity (since a growing number of scientists are now suggesting that the Universe is, in fact, infinite). It simply didn’t make sense, because like most people, I’d grown up hearing that everything from quasars to the Kardashians began with a kind of cosmic seed, unimaginably small, unspeakably dense.

Continue reading “The Moral of the Big Bang”

Q&A with Jack Skillingstead

Jack Skillingstead returns to Asimov’s with his imaginative new adventure “Straconia,” in the current issue [on sale now]. He let us in on his writing process, his first Asimov’s sale over a decade ago, and why he finds himself coming back to alienated characters.


 

Asimov’s Editor: How did the title for this piece come to you?

JS: “Stracony” is a Polish word meaning: “lost.” The story is about lost things and people, and parts of the story have a vaguely eastern European flavor—at least, they do in my mind if not actually on the page. “Straconia,” of course, is not a real word, and I pronounce it the way an American would, not a Polish person. Also, if it were an actual Polish word, the “c” would be a “k” as in: Strakonia. This will drive my Polish friend, Ania, crazy.

 

AE: How did this story germinate? Was there a spark of inspiration, or did it come to you slowly?

JS: Like most of my stories, it started with a core idea or situation. In this case, the situation was the estranged spouse of my protagonist disappears in the middle of the night to lead an alternate life in Straconia, where she works in a diner. The husband hides behind the seats of the car to find out where she’s been going, and winds up swapping places with her. He soon gets caught up in Straconia’s weird passive-aggressive justice system. From there, he has to figure out how to get back home, which involves defining what home is and why he has always felt shut off from it. That was the situation. The larger idea involved Straconia being a place where not only people but all the lost things wind up. You know, socks, pens, keys, etc. Estrangement is a theme I’ve written a lot about, so it was natural that I would land on that. The trick was not to be repetitive, to find something new to say. Once I started writing I discovered the story in the sentences—as it happened, too many sentences. Straconia came out to around fifteen thousand words. My editor asked me to cut five thousand of them! Naturally this was impossible, but I decided to give it a shot, just as an exercise in brevity. It became a very liberating experience. Every cut made the story better.

Continue reading “Q&A with Jack Skillingstead”