AE - The Canadian Science Fiction Review

ISSUE no. 7 - SUMMER 2012

In this issue of AE, the last dustyfoot shakes off his boots; the dead cause trouble; and tremendous tales are told.

Meanwhile, J.J.S. Boyce reviews Robert Charles Wilson; Paul Jarvey talks with Eric Choi about going to Mars; and AE is recognized as an SFWA qualifying market.

FICTION

Like Any Other Star

Rich Larson

Callisto scoped the mat of grey hair on his twiggy chest and the bulgy veins all over him. She wondered if it was because he was dustyfooted or just because he was very, very old.

Tremendous Tales, Episode 2

Chistopher Olson

Christopher Olson returns with fresh visual slices of the fantastic.

Dead Without Dying

M. J. Starling

The Three-Century Sage taught me everything he knew. A hundred years later, the Four-Century Sage realized what I’d done with that knowledge, and struck out determined to set his pupil to rights.

NONFICTION & EDITORIAL

Escape from Entropy: Robert Charles Wilson's A BRIDGE OF YEARS

J.J.S. Boyce

It’s hard to write a time-travel story without it turning into a metaphor for something. The past and the future are too pregnant with meaning; too tied into what we are. The immutability of the past doesn’t prevent us from obsessing over it. The uncertainty of the future doesn’t discourage us from trying to fix it securely. We, perhaps alone amongst the animals, live and breathe time.

The SFWA Recognizes AE

D.F. McCourt

Let’s go back to the very beginning. When AE was but a glimmer in our eyes the thing that kept us going, that made us actually do this crazy thing, was the idea that Canadian SF writers deserved, needed, a professional domestic market. There were and are a number of fine Canadian science fiction publications, but not one¹ among them that met the rigorous standards of the Science Fiction & Fantasy Writers of America.

We are proud to announce that this is no longer the case. AE is the newest addition to the list of SFWA qualified markets.

Letter from the Editors, Issue 7

D.F. McCourt

I have limited patience for long stories. When I heft a book like War and Peace or Cryptonomicom or Infinite Jest, I feel a sort of fatigue before I even turn to the first page. Sometimes these epics turn out to be a fantastic investment of time – Ulysses is over nine hundred pages long, for example – but even when they are, I can’t help but wonder if the story couldn’t have been told better in less space.