The Years Best Science Fiction, Vol. 20

Introduction -

Summation: 2002

Although critics continued to talk about the “Death of Science Fiction” throughout 2002 (some of them with ill-disguised longing), the unpalatable fact (for them) is that science fiction didn’t die this year, and doesn’t even look particularly sick. In fact, sales for many genre titles were brisk, and not only were there not fewer books published this year than last, several new book lines were added that swelled the total and are going to swell it more next year (and this isn’t even counting print-on-demand titles and books sold as electronic downloads from internet Web sites, things much more difficult to keep track of than traditionally printed-and-distributed books). Nor, to my eyes anyway, was there any noticeable fall-off in literary quality. Sure, there’s plenty of crap out there on the bookstore shelves, just as there’s always been. But there’s also more quality SF of many different flavors and varieties (to say nothing of the equally diverse range of quality fantasy titles) available out there this year than any one person is going to be able to read, unless they make a full-time job out of doing so (even the professional reviewers have difficulty keeping up!). In fact, an incredibly wide spectrum of good SF and fantasy, both new titles and formerly long-out-of-print older books, are probably more readily available to the average reader now-in many different forms and formats-than at any other time in history. All of which indicate to me that nailing the coffin-lid shut on the genre, smearing ashes on your face, and trotting out the obituaries might be just a bit premature.

In fact, 2002 was a rather quiet year in the genre market. There were few major changes this year. The slowing economy has yet to hit the genre too hard (knock on wood), although there are signs of possible trouble ahead for conglomerates, such as AOL-Time Warner and Bertelsmann; the difficulties are on high corporate levels and not directly caused by anything happening on the genre level, although they may eventually impact it. There were even some signs of expansion: Five Star Books added a vigorous new SF line, with the emphasis on short-story collections edited by Martin H. Greenberg; Tor added a new Young Adult science fiction and fantasy line, Starscape, and by early in 2003 had added a second YA mass-market line, Tor Teen; Tor is also planning to start a “paranormal romance” line, as yet unnamed, in 2004; Penguin Putnam started a new line of science fiction and fantasy books, Firebird, aimed at young readers; Del Rey introduced a new YA line, Imagine; and HarperCollins started Children’s and YA Eos in the beginning of 2003.

Although all of this sudden interest in producing books for young adults is, of course, attributable to the immense success of the Harry Potter novels, it pleases me to see it, especially in science fiction, since novels aimed at the young adult market more-or-less ceased to exist (or at least became very thin on the ground) after the high days of the Andre Norton and Robert A. Heinlein “juvenile” novels of the ’50s and ’60s. This was short-sighted of science fiction publishers; I think that one reason why fantasy may have had an edge in popularity over science fiction in the last few decades is that fantasy has continued its tradition of easily findable, high-quality YA work-giving young readers somewhere to start, somewhere to become hooked on the form, before they eventually move up to reading more challenging adult-level work-while SF largely abandoned that whole share of the audience. Ironically, the much despised media novels, such as Star Trek and Star Wars books, may have been one of the few things left to play this role to a limited extent for potential new SF readers during the last twenty years, a service that they’ve hardly received any credit for from critics. Good new non-media-specific YA SF would, I think, do an even better job of funneling young new readers directly into the core of the genre, and, with luck, some of those readers might stick around when they get older. The operative word here, though, is “good.” Most of the deliberate attempts to create YA SF novels in the past few years have produced only dull, pompous, and condescending books, usually stuffed to the gunwales with didactic libertarian propaganda. This isn’t going to do it for kids raised on MTV, CGI-drenched movies, and computer games. You need something that will be as exciting to kids in the Oughts as Heinlein’s “juvenile” novels were to kids in the ’50s. And, frankly, rather than being as safe and politically correct as possible, a whiff of nonconformist rebellion and outlaw danger wouldn’t hurt either. So let’s hope that these new YA lines will help. If SF as a genre can find stuff that kids are actually eager to read, rather than having it prescribed for them medicinally, then that will go a long way to assuring that there are people around who still want to read the stuff even in the middle decades of the new century ahead.

2002 was another tough year in the magazine market, but at least the overall losses in circulation were relatively small as opposed to the huge plunges we’ve seen in other years, and there were small gains to partially balance off the losses-although these varied from magazine to magazine, so that Asimov’s Science Fiction gained in subscriptions but lost in newsstand sales, while The Magazine of Fantasy and Science Fiction lost subscriptions but gained in newsstand sales, and so forth.

Last year I went into great detail explaining the publishing factors that were battering the whole magazine industry, regardless of genre, far beyond the boundaries of the science fiction field, including former mega-sellers such as Playboy and TV Guide, and some of the technical reasons why things might not be quite as bad in the SF magazine world as they appeared to be-and, as I’d feared going in, it was largely a waste of time, as I still spent the rest of the year fielding questions in interviews and convention panels about the “Death of Science Fiction” as indicated by declining magazine circulation and listening to remarks about how the editors must be buying the wrong kinds of stories or the circulations wouldn’t be going down. I can’t summon the strength to go through all that again (read the Summation for The Year’s Best Science Fiction, Nineteenth Annual Collection, if you’d like to see the arguments). So I’ll settle for mentioning that while it’s tough to put too positive a spin on the situation in the current SF magazine market, and, of course, no magazine editor is happy to see his overall circulation decline, one factor that is often overlooked is that while circulation decreased by small amounts at most magazines this year, sell-through, the number of magazines that must be put out in the marketplace to sell one, has increased, increased dramatically in some cases-at Asimov’s, sell-through was up to a record 56% last year; at Analog, sell-through was up to a record 55%; and at The Magazine of Fantasy and Science Fiction, sell-through was up to 37%. This is a factor that goes straight to the profitability of a magazine. To achieve a 35% sell-through, for instance, means that three times as many magazines are printed and put on the newsstands as actually sell: if you can cut-back on the number of unsold copies you have to put out there in order to actually sell one, your sell-through increases, and you save a lot of money in production costs by not having to print and distribute as many “extra” copies that no one is going to buy. This is one of the hidden factors, along with how cheap digest-sized magazines are to produce in the first place, that is, so far anyway, helping to keep the SF magazine market afloat.

If you had a 100% sell-through, you wouldn’t print any more copies of an issue than you were actually going to sell-and you’d probably be a subscription-only magazine, where they know in advance exactly how many copies of an issue they need to print. It may well be that the SF magazines, the digest magazines in particular, are eventually going to go this route, as newsstands themselves dwindle in numbers, and the ones that are still around become ever more reluctant to display fiction magazines-especially digest-sized magazines that don’t really fit into the physical format of most newsstands very well. And most of the digests could probably survive as subscription-only magazines, considering how much newsstand sales have fallen off over the last ten years anyway (the same problem being faced by many other magazines, not just genre magazines). The problem is that the purpose of putting more copies out on the newsstand than you expect to sell in the first place is that the extra copies act as advertising, tempting potential new subscribers into picking them up. If you only print as many copies as your existent subscriber-base, nobody ever chances across a copy somewhere of a magazine they might not even have known existed until that moment, and that makes it hard to gain new subscribers-and eventually your subscription-base is eroded away, as old subscribers die or fall away and are not replaced by new ones.

Can use of the Internet, supplemented by distribution to bookstores rather than to newsstands, solve the advertising/promotional problem of attracting new subscribers that used to be solved by putting extra copies out on the newsstand? No one yet knows-but most of the magazine editors I know are giving it their best shot.

As use of Internet Web sites to push sales of the physical product through subscriptions is becoming increasingly important, I’m going to list the URLs for those magazines that have Web sites: Asimov’s site is at www.asimovs.com. Analog’s site is at www.analogsf.com. The Magazine of Fantasy amp; Science Fiction’s site is at www.sfsite.com/fsf/. Interzone’s site is at www.sfsite.com/interzone/. Realms of Fantasy doesn’t have a Web site per se, although content from it can be found on www.scifi.now.com The amount of activity varies widely from site to site, but the important thing about all of the sites is that you can subscribe to the magazines there, electronically, online, with just a few clicks of some buttons, no stamps, no envelopes, and no trips to the post-office required. And you can subscribe from overseas just as easily as you can from the United States, something that was formerly difficult-to-impossible. Internet sites such as Peanut Press (www.peanutpress.com) and Fictionwise (www.fictionwise.com), which sell electronic downloadable versions of the magazines to be read on your PDA or home computer, are also becoming important.

At any rate, to get down to hard figures, Asimov’s Science Fiction registered a 1.7 loss in overall circulation in 2002, gaining 504 in subscriptions, but losing 1,078 in newsstand sales. Analog Science Fiction amp; Fact registered a 2.4% loss in overall circulation in 2002, gaining 490 in newsstand sales but losing 1,504 in subscriptions. The Magazine of Fantasy amp; Science Fiction registered a 10.1% loss in overall circulation, gaining 374 in newsstand sales, but losing 3,038 in subscriptions. Interzone held steady at a circulation of about 4,000 copies, as it has for several years, more or less evenly split between subscriptions and newsstand sales. No circulation figures for Realms of Fantasy were available.

The lively little Scottish SF magazine Spectrum SF has published so much good professional-quality work over the last three years, including good stories this year by Colin P. Davies, Eric Brown, Chris Lawson, Adam Roberts, and the serialization of Charles Stress’s novel The Atrocity Archive, that I’m listing it here with the professional magazines, rather than in the semiprozine section, where its circulation by rights ought to put it. Unfortunately, not all is well at Spectrum SF; they managed to produce only two out of a scheduled four issues this year, and in the most recent issue, editor Paul Fraser announced that in the future, due to financial difficulties and constraints on his time, Spectrum SF is going to be an “occasional” magazine, cut-back from its quarterly schedule to appearing perhaps a couple of times a year. I’m not sure how much practical difference this really makes, since the magazine never came remotely close to keeping its schedule anyway, but it would be a shame if Fraser became even more discouraged and threw in the towel altogether. So everyone, write lots of encouraging letters to Paul, with even more encouraging subscription money folded inside, because science fiction needs as many markets of this caliber as it can get; this little magazine publishes a disproportionate share of the year’s good fiction every year, and it would be a shame to lose it.

A new British magazine started up this year, 3SF, edited by Liz Holliday, the former editor of Odyssey magazine, which died several years back. The first issue was released in 2002. It’s a nice-looking magazine, with a range of interviews, book reviews, media reviews, and interesting articles on such offbeat topics as alternate history and the fate of English political refugees in eleventh-century Russia. The weakest part of the magazine to date, in fact, is the fiction-issue one features solid talents such as Richard Parks, Jay Lake, and Lawrence Watt-Evans, but nothing here rises much above average-competent, certainly nowhere near the level of the first-rate stuff that has been appearing in Spectrum SF. Let’s hope they can bring the quality of the fiction up in subsequent issues; certainly they have some very talented writers announced as appearing in upcoming issues: a good sign. We should all wish them well, as the field really does need as many viable short-fiction markets as it can get.

Subscription addresses follow: The Magazine of Fantasy amp; Science Fiction, Spilogale, Inc., P.O. Box 3447, Hoboken, NJ, 07030, annual subscription-$38.97 in U.S.; Asimov’s Science Fiction, Dell Magazines, P.O. Box 54033, Boulder, CO, 80322-4033-$39.97 for annual subscription in U.S., Analog, Science Fiction and Fact, Dell Magazines, P.O. Box 54625, Boulder, CO, 80323-$39.97 for annual subscription in U.S.; Interzone, 217 Preston Drove, Brighton BN1 6FL, United Kingdom-$60.00 for an airmail one year (twelve issues) subscription; Realms of Fantasy, Sovereign Media Co. Inc., P.O. Box 1623, Williamsport, PA, 17703-$16.95 for an annual subscription in the U.S.; Spectrum SF, Spectrum Publishing, P.O. Box 10308, Aberdeen, ABU 6ZR, United Kingdom-17 pounds sterling for a four-issue subscription, make checks payable to “Spectrum Publishing”; 3SF, Big Engine Co., Ltd, P.O. Box 185, Abingdon, Oxon OX 14 1GR-$45.00 for a six-issue (one year) overseas subscription, or subscribe online at www.3SFmag.co.uk. Note that many of these magazines can also be subscribed to electronically online, at their various Web sites.

The internet scene evolves with such lightning speed, with new e-magazines and internet sites of general interest being born and dying in what seems a blink of the eye, that it remains possible that everything I say about it here will be obsolete by the time this book makes it into print and gets out on a bookshelf somewhere where you can buy it. The only way you can be sure to keep up with the online world is to check out what’s happening there yourself, and keep checking frequently.

Once again this year, one of the major players in the whole genre short-fiction market, not just the online segment of it, was Hugo-winner Ellen Datlow’s Sci Fiction page on the internet (www.scifi.com/scifiction/), a fiction site within the larger umbrella of The Sci-Fi Channel site, which published (or “published,” if you insist) a lot of the year’s best fiction, including stories by Nancy Kress, Robert Reed, Alex Irvine, Paul McAuley, Steven Popkes, James Van Pelt, Terry Bisson, and others. The site also features classic reprints, and a different original short-short story by Michael Swanwick every week.

Although Sci Fiction is no doubt your best bet on the Internet for good short fiction, it’s not the only place to look. Eileen Gunn’s The Infinite Matrix page (www.infinite matrix.net) also published literate and quirky fiction of high quality this year by Gene Wolfe, Ursula K. Le Guin, Benjamin Rosenbaum, Michael Swanwick, Walter Jon Williams, John Kessel, Maureen F. McHugh, Neal Barrett, Jr., John Varley, and others. The site also features a weblog from Bruce Sterling, a daily feature by Terry Bisson, a series of short-shorts from Richard Kadrey and the indefatigable Michael Swanwick, reviews by John Clute, and other neat stuff. (How long it will survive is, alas, another question; they’re running low on money again, after a grant from an unnamed benefactor kept them going throughout 2002, and have resorted to trying Public Television-style campaign-drives, offering offbeat prizes in return for contributions; let’s hope it works!) The Strange Horizons site (www.strangehorizons.com) is also worth checking out; as well as reprints, reviews, and articles, they run lots of original science fiction, fantasy, slipstream, and mild horror stories-I tend to like their fantasy better than their science fiction, but they published good stories of all sorts this year by Alex Irvine, Jay Lake, Ellen Klages, Tim Pratt, Ruth Nestvold, Greg Van Eekhout, Michael J. Jasper, Karen L. Abrahamson, and others. Another site where professional-quality stories can be found is at Oceans of the Mind (www.trantor publications.com/oceans.htm), where they’ll sell you an electronic download of one of their four annual issues as a PDF file to be read on your home computer or PDA; they ran good stories last year by Richard Paul Russo, Ryck Neube, John Alfred Taylor, Michelle Sahara, among others, and an additional point in their favor is that most of the stuff seems to be core science fiction (for some reason, original science fiction is relatively hard to find on the Internet, although you can find slipstream and horror by the ton; in fact, slipstream and horror (particularly horror) seem to be the Internet default-setting, as far as original short fiction is concerned). Another promising site, Future Orbits (www.futureorbits.com), which ran on the same principal as Oceans of the Mind, died this year after only having been introduced last year, showing you how quickly things can turnover in the online world.

A site called Revolution SF (www.revolutionsf.com), also publishes some original fiction, although the bulk of its space is devoted to media and gaming reviews, book reviews, essays, and interviews; the quality of the fiction has been uneven, but some quite interesting stuff has appeared there this year, including stories by Steven Utley, David Hutchinson, and Chris Nakashima-Brown. Short science fiction stories have even been turning up on Salon (www.salon.com) of all places, which has so far published two good SF stories by Cory Doctorow.

Below this point, it becomes difficult to find short original science fiction of any sort of reasonably professional quality on the Internet. Good short reprint SF, though, is not at all hard to find. For starters, most of the sites that are associated with existent print magazines, such as Asimov’s, Analog, The Magazine of Fantasy amp; Science Fiction, Aurealis, and others, will have extensive archives of material, both fiction and nonfiction, previously published by the print versions of the magazines, and some of them regularly run teaser excerpts from stories appearing in forthcoming issues. Another great place to read reprint stories for free (although you have to read them on the screen) is the British Infinity Plus (www.users.zetnet.co.uk/iplus/), a good general site that features a very extensive selection of good quality reprint stories, as well as extensive biographical and bibliographical information, book reviews, and critical essays. And don’t forget that extensive archive of classic reprint stories at Sci Fiction that I mentioned, or the archived backlog of stories at The Infinite Matrix and Strange Horizons, all available to be read for free.

If you’re willing to pay a small fee, though, you can access an even greater range of reprint stories, some of which have been unavailable anywhere else for years. Perhaps the best site to do this at is at Fictionwise (www.fictionwise.com). Unlike a site like Sci Fiction or The Infinite Matrix, Fictionwise is not an “electronic magazine,” but rather a place to buy downloadable e-books and stories to read on your PDA or home computer-and it’s probably the best place on the Internet to do this (as far as accessing good science fiction is concerned), with most of the stuff of high professional quality. In addition to individual stories, you can also buy “fiction bundles” here, which amount to electronic collections, as well as a selection of novels in several different genres; more important to me, you can also subscribe to downloadable versions of several of the SF magazines-including Asimov’s Science Fiction -here, in a number of different formats (as you can at the Peanut Press site). Another similar site where you can buy downloadable e-books of various lengths by top authors is ElectricStory (www.electricstory.com). But here, as at a site like Infinity Plus, you can also access online for free a large array of critical material, including a regular column by Howard Waldrop, movie reviews by Lucius Shepard, and other things. Access for a small fee to both original and reprint SF stories is also offered by sites such as Mind’s Eye Fiction (tale.com/genres.htm), and Alexandria Digital Literature (alexlit.com) as well.

People go online, though, for other reasons other than just finding stories to read. In fact, there’s a large cluster of general interest sites that don’t publish fiction but do publish lots of reviews, critical articles, and genre-oriented news of various kinds, which can be great fun to drop in on. Among my most frequent stops while Web-surfing are: Locus Online (www.locusmag.com), the online version of the newsmagazine Locus, which won a Hugo Award year as “Best Web Site,” one of the most valuable sites on the whole Internet for the SF buff-a great source for fast-breaking genre-related news, as well as access to book reviews, critical lists, and extensive and invaluable data-base archives such as the Locus Index to Science Fiction and the Locus Index to Science Fiction Awards; Science Fiction Weekly (www.scifi.com/sfw/), a similar site, more media-and-gaming oriented than Locus Online, but that also features news and book reviews, as well as regular columns by John Clute, Michael Cassut, and Wil McCarthy; Tangent Online (www.sfsite.com/tangent/), perhaps the most valuable SF-oriented review site on the Internet, especially for short fiction; Best SF (www.bestsf.netf), another great review site, and one of the few places, along with Tangent Online, that makes any attempt to regularly review online fiction as well as print fiction; Bluejack (www.bluejack.com), less exhaustively comprehensive than Tangent On line or Best SF, but still a place to find insightful magazine reviews, as well as bluejack’s own online diary; SFRevu (www.sfrevu.com), another review site, although rather than reviewing short fiction, they specialize in media and novel reviews; the Sci-Fi Channel (www.scifi.com), which provides a home for Ellen Datlow’s Sci Fiction and for Science Fiction Weekly, and to the bimonthly SF-oriented chats hosted by Asimov’s and Analog, as well as vast amounts of material about SF movies and TV shows; the SF Site (www.sfsite.com), which not only features an extensive selection of reviews of books, games, and magazines, interviews, critical retrospective articles, letters, and so forth, plus a huge archive of past reviews; but also serves as host-site for the web-pages of The Magazine of Fantasy amp; Science Fiction, Interzone, and the above-mentioned SFRevu; SFF net (www.sff.net), a huge site featuring dozens of home pages and “newsgroups” for SF writers, plus sites for genre-oriented “live chats”; the Science Fiction Writers of America page (www.sfwa.org); where news, obituaries, award information, and recommended reading lists can be accessed; Audible (www.audible.com) and Beyond 2000 (www.beyond2000.com), where SF-oriented radio plays can be accessed; multiple Hugo-winner David Langford’s online version of his fanzine Ansible (www.dcs.gla.ac.uk/Ansible/), which provides a funny and often iconoclastic slant on genre-oriented news; and Speculations (www.speculations.com), a long-running site which dispenses writing advice, although to access most of it, you’ll have to subscribe to the site.

Live online interviews with prominent genre writers are also offered on a regular basis on many sites, including interviews sponsored by Asimov’s and Analog and conducted by Gardner Dozois on the Sci-Fi Channel (www.scifi.com/chat) every other Tuesday night at 9 p.m. EST (Sci Fiction chats conducted by Ellen Datlow are also featured on the Sci-Fi Channel at irregular intervals, usually on Thursdays, check the site for details); regular scheduled interviews on the Cybling site (www.cybling.com); and occasional interviews on the Talk City site (www.talkcity.com). Many Bulletin Board Services, such as Delphi, CompuServe, and AOL, have large online communities of SF writers and fans, and some of these services also feature regularly scheduled live interactive real-time “chats” or conferences, in which anyone interested in SF is welcome to participate. The SF-oriented chat on Delphi, every Wednesday at about 10 p.m. EST, is the one with which I’m most familiar, but there are similar chats on F.net, and probably on other BBSs as well.

Nobody in this market has as yet figured out a good, steady, reliable way to make money by publishing fiction online, and until that happens, many of these sites and e-zines are going to die from lack of capital and funds (production costs may be a lot lower for “publishing” an e-zine than for publishing an old-fashioned print magazine, but at the very least you still have to have money to pay for the stories, to say nothing of money to pay your staff-and it adds up), and the online market is not going to reach its full potential, which is considerable. Maybe the Fictionwise model, selling individual stories and books in the form of downloads for your PDA, or the Oceans of the Mind model, selling subscriptions to purchase whole issues of a magazine in downloadable form at regular intervals, will prove to be commercially viable, and become the wave of the future. Or maybe not. Only time will tell.

It was at best a so-so year in the print semiprozine market. Nothing has been heard from the once-prominent fiction semiprozine Century for more than two years now, and I’m beginning to wonder if we’re ever going to hear from it again. The acclaimed and long-running Australian fiction semiprozine Eidolon died this year, and Orb, Altair, and Terra Incognita have all gone “on hiatus,” a limbo from which few magazines ever return in the semiprozine world.

The titles consolidated under the umbrella of Warren Lapine’s DNA Publications- Fantastic Stories of the Imagination, Weird Tales, Chronicle (formerly Science Fiction Chronicle), the all-vampire-fiction magazine Dreams of Decadence; and Lapine’s original magazine, Absolute Magnitude, The Magazine of Science Fiction Adventures -were all still having trouble keeping to their announced publishing schedules this year, except for Chronicle, which met it, and which seemed to have held steady in circulation as well. The other DNA magazines all registered slight drops in circulation, although no disastrous plunges, and the sell-through for most of them was high as well. An ominous note was struck, though, by a note from publisher Warren Lapine in recent renewal notices to subscribers, which warns that unless subscribers not only renew but subscribe to an additional magazine or purchase a book listed on the back of the renewal flyer, DNA will have to cut costs, including the possibility that at least two magazines will be dropped. This doesn’t sound good.

The most stable of the fiction semiprozines seem to be the long-running Canadian semiprozine On Spec and the leading British semiprozine The Third Alternative, which were among the very few magazines in the entire semipro market to meet their announced production schedules this year. The slick, large-format The Third Alternative is one of the handsomest magazines out there, semiprozine or pro, and seems to just keep getting better, publishing fiction at a fully professional level, most of which remains slipstream and horror, although they’ve been adding a bit of science fiction to the mix of late as well-good stuff by John Grant, Ian Watson, Graham Joyce, Douglas Lain, and others, appeared in The Third Alternative this year. On Spec is another handsome magazine, and also published some good stuff this year by Charles Coleman Finlay, Karen Traviss, Kate Riedel, and others. Talebones, Fiction on the Dark Edge managed only two issues out of a scheduled four this year, but the editors had the best of excuses: the birth of a new baby. Talebones remains a lively little magazine, steadily improving, and published good fiction this year from William Barton, James Van Pelt, James Sallis, Beverly Suarez-Beard, and others.

Artemis Magazine: Science and Fiction for a Space-Faring Society again managed only two issues this year out of their scheduled four; I like the fact that Artemis features center-core science fiction in a marketplace where the bulk of the fiction semiprozines run mostly slipstream or horror instead, but they need to work on making their stories more vivid and powerful; much of the work here this year was rather gray, although there were interesting stories by Edward Willett and Roxanne Hutton. A magazine which couldn’t be more different from Artemis in editorial personality is Lady Churchill’s Rosebud Wristlet (about all they have in common is that they both only managed to get two issues out this year), which almost never publishes core science-fiction, but does publish some good slipstream stuff, including stories by Jeffrey Ford, Greg Van Eekhout, and others. The other long-running Australian semiprozine, Aurealis, was taken over by a new editor, and managed two of its scheduled four issues this year, with interesting stories by Robert N. Stephenson and Lee Battersby; it’s good to see it surviving, since the fear last year was that it would follow Eidelon into the grave. A new Australian fiction semiprozine, the oddly titled Andromeda Spaceways Inflight Magazine, launched this year, but is already reported to be in financial trouble; we’ll see if it makes it. I saw one issue of the quirky Irish semiprozine Albedo One this year and heard rumors that there was a Tales of the Unanticipated, but I never saw it.

Black Gate, the new large-format fantasy magazine, managed two fat issues out of a scheduled four. Although ostensibly a fantasy magazine, they remain very broad-church in their definition of fantasy, but the magazine did feature good stories this year, whatever you define them as, by Ellen Klages, Mike Resnick, Cory Doctorow, Bill Johnson, Gail Sproule, and others.

I don’t follow the horror semiprozine market anymore, but the most prominent magazine there, as usual, seems to be the highly respected Cemetery Dance.

Your best bets in the critical magazine market, and by far the most reliably published, are the two “newszines,” Locus and Chronicle (formerly Science Fiction Chronicle), and David G. Hartwell’s eclectic critical magazine, perhaps the best critical magazine out there at the moment, The New York Review of Science Fiction. There have been a few changes here, at least with the newszines: Locus’s longtime and multiple Hugo-winning editor, Charles N. Brown, supposedly retired in 2002, turning the editorial reins over to Jennifer A. Hall, but since the magazine is still put together in his living room, most insiders guess that he won’t actually “retire” until they pry the magazine from his cold dead fingers. Science Fiction Chronicle was taken over by Warren Lapine’s DNA Publishing Group last year, and this year, longtime editor and Hugo-winner Andy Porter left the magazine he’d founded, among swirling rumors that he’d been fired; he was replaced as News Editor by John Douglas, the title of the magazine was changed to Chronicle, and its formerly erratic publishing schedule was stabilized. One issue of Lawrence Person’s playful Nova Express was published this year, but the editor is considering turning the magazine into an online “electronic magazine” (which I suspect will eventually be the fate of most critical semiprozines). There were several issues of The Fix this year, a welcome new short-fiction review magazine brought to you by the people who put out The Third Alternative.

Locus, The Newspaper of the Science Fiction Field, Locus Publications, Inc., P.O. Box 13505, Oakland, CA 94661-$56.00 for a one-year first class subscription, 12 issues; The New York Review Of Science Fiction, Dragon Press, P.O. Box 78, Pleasantville, NY, 10570-$32.00 per year, 12 issues; Nova Express, P.O. Box 27231, Austin, TX 78755-2231-$12 for a one-year (four issue) subscription; On Spec, More Than Just Science Fiction, P.O. Box 4727, Edmonton, AB, Canada T6E 5G6-$18 for a one-year subscription; Aurealis, the Australian Magazine of Fantasy and Science Fiction, Chimaera Publications, P.O. Box 2164, Mt. Waverley, Victoria 3149, Australia-$43 for a four-issue overseas airmail subscription, “all cheques and money orders must be made out to Chimarea Publications in Australian dollars”; Albedo, Albedo One Productions, 2 Post Road, Lusk, Co., Dublin, Ireland-$34 for a four-issue airmail subscription, make checks payable to “Albedo One”; Pirate Writings, Tales of Fantasy, Mystery amp; Science Fiction, Absolute Magnitude, The Magazine of Science Fiction Adventures, Aboriginal Science Fiction, Weird Tales, Dreams of Decadence, Chronicle -all available from DNA Publications, P.O. Box 2988, Radford, VA 24142-2988-all available for $16 for a one-year subscription, although you can get a group subscription to all five DNA fiction magazines for $70 a year, with Chronicle $45 a year (12 issues), all checks payable to “D.N.A. Publications”; Tales of the Unanticipated, Box 8036, Lake Street Station, Minneapolis, MN 55408-$15 for a four-issue subscription; Artemis Magazine: Science and Fiction for a Space-Faring Society, LRC Publications, 1380 E. 17th St., Suite 201, Brooklyn NY 11230-6011-$15 for a four-issue subscription, checks payable to LRC Publications; Talebones, Fiction on the Dark Edge, 5203 Quincy Ave. SE, Auburn, WA 98092-$18 for four issues; The Third Alternative, TTA Press, 5 Martins Lane, Witcham, Ely, Cambs. CB6 2LB, England, UK-$22 for a four-issue subscription, checks made payable to “TTA Press”; Black Gate, New Epoch Press, 815 Oak Street, St. Charles, IL 60174-$25.95 for a one-year (four issue) subscription; Lady Churchill’s Rosebud Wristlet, Small Beer Press, 360 Atlantic Avenue, PMB #132, Brooklyn, NY 11217-$12 for four issues, all checks payable to Gavin Grant; The Fix: The Review of Short Fiction, TTA Press, Wayne Edwards, P.O. Box 219, Olyphant, PA 18447-$28.00 for a six-issue subscription, make checks payable to “TTA Press”; Andromeda Spaceways Inflight Magazine, P.O. Box 495, Chinchilla QLD 4415 Australia-$35.00 for a one-year subscription. Many of these magazines can also be ordered online, at their Web sites; see the online section for URLs.

Yet again, it was a pretty weak year for original anthologies.

The best original SF anthology of the year, with almost no competition, was Mars Probes (DAW), edited by Peter Crowther. Having said that, I must admit that I found Mars Probes somewhat disappointing overall, in comparison with Crowther’s 1999 anthology Moon Shots. With all the good science fiction that’s been written about Mars at novel-length in recent years, I’d hoped for a really solid, definitive collection of core SF, reflecting some of the recent science fiction thinking about the Red Planet, and there is some of that here-but a great deal of the anthology (too much of it, in my opinion) is devoted to fabulations and homages drawing not on scientific fact but on other fictional versions of Mars, from Bradbury’s “Mars” to Burrough’s “Barsoom,” including an uncannily spot-on pastiche/homage of Leigh Brackett’s pulp-era Martian stories by Michael Moorcock. Even Paul McAuley, who has done some of the best of the recent work about Mars, contributes a near-mainstream story set in a Martian theme park rather than a hard-science story. Most of this stuff is clever, well-crafted, and entertaining, but it makes the anthology as a whole a little more insubstantial as a science fiction anthology than I was hoping it would be (perhaps the problem is with my own expectations rather than with the anthology itself); in spite of these quibbles, though, it’s still easily the best SF anthology of the year. The best story in Mars Probes is Ian McDonald’s “The Old Cosmonaut and the Construction Worker Dream of Mars,” but there’s also good work here by Stephen Baxter, Alastair Reynolds, Eric Brown, Gene Wolfe, Allen Steele, and others.

It’s nearly impossible to come up with a follow-up candidate for best original SF anthology this year, although there were several anthologies with one or two good stories apiece in them. The most solid of these overall was probably 30th Anniversary DAW: Science Fiction (DAW), edited by Elizabeth R. Wollheim and Sheila E. Gilbert; a lot of the stuff here is just fragments of larger story-arcs, depending on your familiarity with long-running DAW novel series for full effect, but there is some good self-contained work here by Neal Barrett, Jr., Brian Stableford, C. J. Cherryh, Charles L. Harness, Ian Watson, and others. Once Upon a Galaxy (DAW), edited by Wil McCarthy, Martin H. Greenberg, and John Heifers, an anthology of fairy-tales retold as science fiction, has some clever stuff in it. The best story here is by Paul Di Filippo, but there is also good stuff by Gregory Benford, Stanley Schmidt, Scott Edleman, Thomas Wylde, and others. Sol’s Children (DAW), edited by Jean Rabe and Martin H. Greenberg, features good but unexceptional stories by Timothy Zahn, Michael A. Stackpole, Kristine Kathryn Rusch, the late Jack C. Haldeman II, and others. Oceans of Space (DAW), edited by Brian M. Thomsen and Martin H. Greenberg, is largely unimpressive, but has decent stories by Andre Norton, Mike Resnick, Simon Hawke, and others.

PS Publishing, edited by Peter Crowther, which for the last couple of years has been bringing out novellas in individual chapbook form, produced another bunch of titles this year, including the excellent V.A.O., by Geoff Ryman, good novellas such as Riding the Rock, by Stephen Baxter, The Tain, by China Mieville, and others. Golden Gryphon Press got into the same business this year, bringing Alastair Reynold’s first-rate novella Turquoise Days out as an individual chapbook. You’re more likely to find really good science fiction in these chapbooks than you are to find it in most of the second-tier anthologies mentioned above.

There were three original Alternate History anthologies this year, the best of which was Worlds That Weren’t (Roc), edited by Laura Ann Gilman; the best story here is Walter Jon Williams’s strange novella “The Last Ride of German Freddie,” but the book also features good novellas by Harry Turtledove, Mary Gentle, and S. M. Stirling. Alternate Generals II (Baen), edited by Harry Turtledove, is also worthwhile, although it may appeal more to military history buffs than to the average reader, since a number of the stories here require more knowledge of the intricate details of past wars for full appreciation than the average reader is likely to possess. The best story here is William Sanders’s “Empire,” although there is also good work by Judith Tarr, Michael F. Flynn, Susan Shwartz, and others (I do wonder, though, how many people are going to be willing to pay $24.00 for this: I think they would have been better off bringing it out as an inexpensive mass-market paperback, like the first Alternate Generals anthology, than as an expensive hardcover). Alternate Gettysburgs (Berkley), edited by Brian M. Thomsen and Martin H. Greenberg, is even more specialized-if you’re not reasonably au courant with the American Civil War, and especially the Battle of Gettysburg, you might as well forget it; most of the stories in these three books are alternate history, unsurprisingly enough, but the best story in Alternate Gettysburgs is an SF story by William H. Keith, Jr., although there are also good stories by Kristine Kathryn Rusch, Brendan DuBois, and others here, probably enough to make it worthwhile as a $6.99 paperback (I wouldn’t have wanted to buy it as a $24.00 hardcover).

There was supposedly a new volume in the assembled-online “SFF.net” annual anthology series this year, called Beyond the Last Star, edited by Sherwood Smith, but I never saw it; I’ll have to save it for consideration for next year.

As usual, L. Ron Hubbard Presents Writers of the Future Volume XVIII (Bridge), edited by Algis Budrys, presents novice work by beginning writers, some of whom may later turn out to be important talents. Much the same could be said of Empire of Dreams and Miracles (Phobos), edited by Orson Scott Card, which features winners of the 1st Annual Phobos Fiction Contest.

In terms of literary quality, the line-by-line quality of the writing, the best anthology of the year may well be Conjunctions 39: The New Wave Fabulists, a special issue of the literary publication Conjunctions guest-edited by Peter Straub-although some genre fans are going to find it disappointing in spite of the bravura quality of the prose. The (somewhat unclear) intention here seems to have been to produce an “all genres” anthology aimed at the mainstream literary audience, but there is almost no science fiction here-with the exception of a good Alternate History story by John Kessel, “The Invisible Empire”-and surprisingly, considering that horror superstar Peter Straub was the editor, almost no horror either; most of the stories fall somewhere on the line between fantasy and slipstream / surrealism / Magic Realism / whatever-we’re-calling-it-this-month, although several of the anthologies very best stories, such as Karen Joy Fowler’s “The Further Adventures of the Invisible Man” and John Crowley’s “The Girlhood of Shakespeare’s Heroine,” strike me as straight mainstream stories (in spite of Straub’s rather too-clever attempts to argue that the Crowley is really a fantasy story after all). Although Straub does brandish the term “post-transformation fiction,” it’s hard for me to perceive that any coherent critical argument is being made here, or to discern why this particular group of authors are “New Wave Fabulists,” or what makes them so, or what that term means, or why they were selected rather than some other grouping of authors; it seems instead like the partially random selection of authors you’d get assembling any original anthology, depending largely on the luck of the draw, rather than a list of authors collected with critical rigor or to demonstrate some particular mode or emerging school of fiction. Still, if you set aside considerations of genre or of critical canon-forming, what you get is an anthology with some really good stuff to read in it. After the above-mentioned stories by Fowler, Crowley, and Kessel, the best stories here are Andy Duncan’s flamboyant “The Big Rock Candy Mountain” and China Mieville’s grisly “Familiar,” but the anthology also features good-to-excellent stories by Nalo Hopkinson, Neil Caiman, Elizabeth Hand, Peter Straub himself, and others, plus excerpts from forthcoming novels by Joe Haldeman and Gene Wolfe, a book well worth the $15 cover price, especially for those who don’t insist on drinking their genre neat.

There were four other small press anthologies this year that mixed slipstream, horror, fantasy, and science fiction in their contents lists to varying effect, usually with science fiction the smallest element in the mix by far. Polyphony, Volume 1 (Wheatland Press), edited by Deborah Layne and Jay Lake, is more unambiguously a “slipstream” anthology than Conjunctions 39, with little that could be mistaken for any other genre, but is still worthwhile. The best story here is Maureen F. McHugh’s “Laika Comes Home Safe,” but Polyphony also contains good stuff by Andy Duncan, Lucius Shepard, Leslie What, James Van Pelt, and others. Leviathan Three (Ministry of Whimsy Press), edited by Jeff VanderMeer and Forrest Aguirre, mixes other fairly identifiable genres (mostly fantasy) in with the slipstream stuff, and mixes genres more within individual stories than most of these anthologies do (Brian Stableford’s story, for instance, mixes science fiction and fantasy to enough of a degree that it can only be called science-fantasy), and although there’s some over-pretentious and rather dull stuff here, there’s also some excellent work. The best stories here are “The Face of an Angel,” by Brian Stableford and “The Fool’s Tale,” by L. Timmel Duchamp, but there are also good stories by Jeffrey Ford, Carol Emshwiller, Stepan Chapman, and others. J. K. Potter’s Embrace the Mutation (Subterranean Press), edited by William Schafer and Bill Sheehan, is an anthology of stories supposedly inspired by the work of artist J. K. Potter (included in the book); not surprisingly, considering Potter’s sometimes grotesque work and the publisher’s usual fare, Embrace the Mutation leans a good deal more toward straight horror than the other three anthologies being discussed here, but there still are visitations from other genres, notably pure fantasy in a story by Elizabeth Hand and even science fiction in a story by Lucius Shepard-those two, in fact, “Pavane for a Prince of the Air,” by Elizabeth Hand, and “Radiant Green Star,” by Lucius Shepard, are the best stories in the book, but it also features good work by Michael Bishop, Kim Newman, John Crowley, Peter Crowther, and others. In the Shadow of the Wall (Cumberland House), edited by Byron R. Tetrick and Martin H. Greenberg, is an otherwise pretty good anthology, mostly of rather Twilight Zonish fantasy stories, that hampers itself a bit by insisting that all its stories deal centrally with the Vietnam Memorial (the Wall of the title. The best story here is Michael Swanwick’s bitter little story “Dirty Little War,” but there is also good work by Barry N. Malzberg, Orson Scott Card, Nick DiChario, and Byron R. Terrick himself.

Two other small-press anthologies filled an odd and rather specialized literary niche: anthologies of stories about (or inspired by, in one case, to be precise) science fiction and fantasy bookstores. Shelf Life: Fantastic Stories Celebrating Bookstores (DreamHaven), edited by Gregg Ketter, the owner of the DreamHaven science fiction bookstore in Minneapolis. Shelf Life deals pretty centrally with the bookstore theme, here treated mostly as a variant of the “little magic shop” story in a sequence of mostly rather gentle fantasy stories, with some mild horror, by Gene Wolfe (with his “From the Cradle,” being, unsurprisingly, the volume’s best), P. D. Cacek, John J. Miller, and others, plus one SF story by Jack Williamson (a pleasant-enough anthology, but at $75.00, it’s wildly overpriced). The Bakka Anthology (The Bakka Collection), edited by Kristen Pederson Chew, has a looser theme, stories “inspired by” the authors having worked in the Bakka science fiction bookstore in Toronto, and, as might be expected, gathers a more eclectic crop of stories as a result, mostly science fiction, with some fantasy and harder-to-classify stuff thrown in. The best story here is Michelle Sagara West’s “To Kill an Immortal,” but there’s good work by Cory Doctorow, Nalo Hopkinson, Robert J. Sawyer, and others, here as well.

The best original genre fantasy anthology of the year, again with little real competition, was probably The Green Man: Tales from the Mythic Forest (Viking) edited by Ellen Datlow and Terry Windling, which contained good-to-excellent work by M. Shayne Bell, Tanith Lee, Delia Sherman, Emma Bull, Nina Kiriki Hoffman, Patricia A. McKillip, and others. 30th Anniversary DAW: Fantasy (DAW), edited by Ellizabeth R. Wollheim and Sheila E. Gilbert is also worth mentioning; although it suffers from the same faults as its SF brother-volume, it contains good work by Tanith Lee, Michelle West, and others. The rest of the year’s original fantasy anthologies were pleasant but minor, including, Knight Fantastic (DAW), edited by John Heifers and Martin H. Greenberg; Pharaoh Fantastic (DAW), edited by Brittiany A. Koren and Martin H. Greenberg; and Apprentice Fantastic (DAW), edited by Russell Davis and Martin H. Greenberg.

Shared-world anthologies this year included Wild Cards: Deuces Down (ibooks), edited by George R. R. Martin; Thieves’ World: Turning Points (Tor), edited by Lynn Abbey; and Deryni Tales (Ace), edited by Katherine Kurtz.

Although I don’t pay a lot of attention to the horror genre anymore, from what I could tell the big original anthology of the year there seemed to be Dark Terrors 6 (Gollancz), edited by Stephen Jones and David Sutton. Other original horror anthologies included The Children of Cthulhu: Chilling Tales Inspired by H. P. Lovecraft (Del Rey), edited by John Polant and Benjamin Adams and The Darker Side: Generations of Horror (Roc), edited by John Pelan.

A new anthology by Peter Crowther and Robert Silverberg’s Legends II is about all there is to look forward to in the original anthology market for next year. Maybe the long-promised Greg Benford anthology will finally appear. Not a lot else on the horizon.

Addresses: PS Publishing, 98 High Ash Drive, Leeds L517 8RE, England, UK-$14.00 for V.A.O., by Geoff Ryman, $14.00 for Riding the Rock, by Stephen Baxter, $14.00 for The Tain, by China Mieville; Golden Gryphon Press, 3002 Perkins Road, Urbana, IL 61802-$15.95 for Turquoise Days, by Alastair Reynolds; Conjunctions, Bard College, Annandale-on-Hudson, NY 12504-$15 for Conjunctions 39: The New Wave Fabulists; Wheatland Press, P.O. Box 1818, Wilsonville, OR 97070-$16.95 for Polyphony; Subterranean Press, P.O. Box 190106, Burton, MI 48519-$40.00 for Embrace the Mutation; Ministry of Whimsy Press, P.O. Box 4248, Tallahasse, FL 32315-$21.95 for Leviathan 3; Cumberland House, 431 Harding Industrial Drive, Nashville, TN 37211-$14.95 for In the Shadow of the Wall; DreamHaven Books, 912 W. Lake Street, Minneapolis, MN 55408-$75.00 for Shelf Life: Fantastic Stories Celebrating Bookstores; The Bakka Collection, 598 Yonge Street, Toronto, ONT M4Y 1Z3-$30.00 for The Bakka Anthology.

2002 seemed like a pretty strong year for novels, in spite of all the moaning about how SF is dying and there’s nothing worthwhile to read left out there on the bookstore shelves. According to the newsmagazine Locus, there were 2,241 books “of interest to the SF field,” both original and reprint, published in 2002, up by 4% from 2001’s total of 2,158. Original books were up by 5% to 1,271 from last year’s total of 1,210; reprint books were up by 2 % to 970 titles over last year’s total of 948. The number of new SF novels was up slightly, with 256 new titles published as opposed to 251 novels published in 2001. The number of new fantasy novels was also up, to 333, as opposed to 282 novels published in 2001. Horror, however, was down, dropping to 112 from last year’s total of 151. And, for the most part, these totals don’t even reflect print-on-demand novels, novels offered as downloads on the internet, media tie-in-novels, novelizations of movies, gaming novels, or novels drawn from TV shows such as Charmed, Angel, and Buffy, the Vampire Slayer.

Even sticking to the SF novels alone, that’s a lot of novels. How many of the people who complain that “there’s nothing to read out there” have really sampled even a small percentage of them, let alone all 256?

I myself didn’t have time to read many novels this year, with all the reading I have to do at shorter lengths. So instead I’ll limit myself to mentioning novels that received a lot of attention and acclaim in 2002 include: Guardian (Ace), Joe Haldeman; Schild’s Ladder (Eos), Greg Egan; Probability Space (Tor), Nancy Kress; The Years of Rice and Salt (Bantam), Kim Stanley Robinson; Bones of the Earth (Eos), Michael Swanwick; Coyote (Ace), Allen Steele; Light Music (Eos), Kathleen Ann Goonan; The Scar (Del Rey), China Mieville; The Praxis (Avon), Walter Jon Williams; Redemption Ark (Ace), Alastair Reynolds; Evolution (Del Rey), Stephen Baxter; The Disappeared (Roc), Kristine Kathryn Rusch; Light (Gollancz), M. John Harrison; Castles Made of Sand (Gollancz), Gwyneth Jones; The Lady of the Sorrows (Warner Aspect), Cecilia Dart-Thornton; Shadow Puppets (Tor), Orson Scott Card; Kiln People (Tor), David Brin; Vitals (Del Rey), Greg Bear; Engine City (Tor), Ken MacLeod; The Fall of the Kings (Bantam Spectra), Ellen Kushner amp; Delia Sherman; Ares Express (Earthlight), Ian McDonald; The Sky So Big and Black (Tor), John Barnes; Transcension (Tor), Damien Broderick; Chindi (Ace), Jack McDevitt; Empire of Bones (Bantam Spectra), Liz Williams; The Omega Expedition (Tor) Brian Stableford; The Visitor (Eos), Sheri S. Tepper; The Impossible Bird (Tor), Patrick O’Leary; Ruled Britannia (NAL), Harry Turtledove; The Separation (Scribner UK), Christopher Priest; Spaceland (Tor), Rudy Rucker; A Winter Haunting (Morrow), Dan Simmons; The Translator (Morrow), John Crowley; White Apples (Tor), Jonathan Carroll; The Devil and Deep Space (Roc), Susan R. Matthews; Permanence (Tor), Karl Schroeder; Pitcher’s Brides (Tor), Gregory Frost; Explorer (DAW), C. J. Cherryh; Kushiel’s Chosen (Tor), Jacqueline Carey; The Longest Way Home (Eos), Robert Silverberg; Dark Ararat (Tor), Brian Stableford; Resurgence (Baen), Charles Sheffield; Manifold: Origin (Del Rey), Stephen Baxter; Night Watch (HarperCollins), Terry Pratchett; Burning the Ice (Tor), Laura J. Mixon; The King (Ace), David Feintuch; Jupiter (Tor), Ben Bova; The Alchemist’s Door (Tor), Lisa Goldstein; and Coraline (Harper), Neil Caiman.

The first novels that drew the most attention this year seemed to be The Golden Age (Tor), John C. Wright, A Scattering of Jades (Tor), Alexander C. Irvine, and The Atrocity Archive, Charles Stress (the Stress suffering under the handicap of only appearing as a serial in Spectrum SF magazine, and not yet in book form; in spite of this, it got a lot of notice). Other first novels included: Solitaire (Eos), Kelly Eskridge; The Summer Country (Ace), James A. Hetley; Fires of the Faithful (Bantam Spectra), Naomi Kritzer; The Red Church (Pinnacle), Scott Nicholson; The Eve of Night (Bantam Spectra), Pauline J. Alama; Altered Carbon (Del Rey), Richard Morgan; Warchild (Warner Aspect), Karin Lowachee; Just Like Beauty (Farrar, Straus, Giroux), Lisa Lerner; and The God Who Beget a Jackal (Picador USA), Nega Mezlekia.

Looking over these lists, it’s clear that Tor, Eos, and Ace had strong years, although Del Rey had a pretty good year as well. And in spite of the usual critical chorus about how science fiction is “dying” or being driven off the shelves by fantasy, it’s clear that the majority of novels here are center-core science fiction. Even omitting the fantasy of novels and the borderline genre-straddling work from the list, the Egan, the Kress, the two Baxters, the Reynolds, the McDevitt, the Swanwick, the Stablefords, the Barnes, the Goonan, the Harrison, the Bear, the Bova, the Sheffield, the Silverberg, the McDonald, the McDevitt, the Williams, the MacLeod, the Brin, the Card, the Steele, and almost a dozen others are clearly and unmistakably science fiction, many of them “hard science fiction” at that. Pretty fair numbers for an endangered species!

Meanwhile, this is the best time in decades to pick up new editions of long out-of-print classics of science fiction and fantasy, books that have been unavailable to the average reader since the ’70s in some cases. Throughout the last two decades, reissues had become as rare as the proverbial hen’s teeth, as shortsighted bottom-line corporate publishing practices meant that books almost never came back into print once they had gone out of it, and that reprints of even older classics were out of the question. Now, however, the ice is beginning to break up a bit. The SF Masterworks and the Fantasy Masterworks reprint series, from English publisher Millennium, have brought forth slews of classic reprints during the last few years, joined by American lines such as Tor Orb, Del Rey Impact, Baen Books, and Vintage, as well as print-on-demand publishers such as Wildside and Big Engine, and Internet sites such as Fictionwise and Electric Story, where classic novels and stories are available for purchase in downloadable form. This year, ibooks joined in with a wave of classic reprints, including Robert Silverberg’s Dying Inside, Up the Line, and The Man in the Maze, Brian W. Aldiss’s Helliconia triology, Greg Bear’s Blood Music and Strength of Stories, William Rotsler’s Patron of the Arts, Roger Zelazny’s collection The Last Defender of Camelot, an omnibus of three Barry Malzberg novels collected as On a Planet Alien, and Harlan Ellison’s famous anthology Dangerous Visions; Vintage reissued a flood of Philip K. Dick titles, including Time Out of Joint, Dr. Bloodmoney, Clans of the Alphane Moon, The Simulacra, Counter-Clock World, The Man Who Japed, and The Zap Gun (if you can afford only one of these, make it Time Out of Joint, one of Dick’s best; some of the others are rather minor), as well as reprints of Samuel R. Delany’s Nova (one of the best and most influential books of its decade) and a combination volume consisting of his Babel-17/Empire Star. Orb published an omnibus by Hal Clement, Heavy Planet, containing his novels Mission of Gravity and Star Light, plus other related material, and an omnibus of three of James White’s “Sector General” novels, Alien Emergencies, as well as a reissue of A E. Van Vogt’s The World of Null-A. Tor reprinted Frank Herbert’s The Green Brain and The Santaroga Barrier, as well as releasing omnibus collections of “Stainless Steel Rat” novels by Harry Harrison, A Stainless Steel Trio, and of “Dorsai” novels by Gordon R. Dickson, Dorsai Spirit. Baen released an omnibus collection of “Lord Darcy” stories and novels by Randall Garrett, Lord Darcy, as well as an omnibus of “Miles Vorkesigan” novels by Lois McMaster Bujold, Miles Errant, and a collection of stories and novels by James H. Schmitz, Eternal Frontier. Gollancz reprinted Jack Vance’s Big Planet, Joe Haldeman’s Worlds, Samuel R. Delany’s The Jewels of Aptor, Robert Silverberg’s The Masks of Time, John Sladek’s Tik-Tok, and Ian Watson’s The Jonah Kit. Big Engine made available an omnibus of Brian Stableford novels, Swan Songs: The Complete Hooded Swan Collection, as well as Leigh Kennedy’s novel The Journal of Nicholas the American; Perennial reprinted John Crowley’s Little, Big, and issued an omnibus of three other Crowley novels, Otherwise. NESFA Press issued an omnibus of novels by Fredric Brown, Martians and Madness: The Complete SF Novels of Fredric Brown, and an omnibus of Robert Sheckley novels, Dimensions of Sheckley. Tachyon Publications reissued Pat Murphy’s The Shadow Hunter and Avram Davidson’s The Phoenix and the Mirror. Overlook Press reissued Evangeline Walton’s The Maginogion Tetralogy; Del Rey reissued Nicola Griffith’s Ammonite; and Starscape reprinted Orson Scott Card’s Ender’s Game.

And no doubt there were other reprints that I’ve missed.

As I said, this is the best time in decades to pick up new editions of long out-of-print work, so go out and get them while you can!

I’ve almost given up trying to guess which novels are going to win the year’s major awards, especially as SFWA’s weird and dysfunctional “rolling eligibility” rule means that books that already won a Hugo last year, such as Neil Caiman’s American Gods, get to go head-to-head with new novels such as Michael Swanwick’s Bones of the Earth. To be fair, it’s hard to see a clear or obvious winner for the Hugo, either. We’ll just have to wait and see.

Small-press original novels of interest this year included Charles L. Harness’s Cybele, with Bluebonnets (NESFA Press), an autobiographical novel with some fantastic elements, and Carol Emshwiller’s The Mount (Small Beer Press).

Associational novels by SF writers this year included a mystery novel by Ray Bradbury, Let’s All Kill Constance (HarperCollins/Morrow).

Mail-order information: NESFA Press, P.O. Box 809, Frammghan, MA 01701-0809-$21 (plus $2.50 shipping in all cases) for Cybele, with Bluebonnets, by Charles Harness, $29.00 (plus $2.50 shipping) for Martians and Madness: The Complete SF Novels of Fredric Brown, $29.00 for Dimensions of Sheckley, by Robert Sheckley; Small Beer Press, 360 Atlantic Avenue, PMB #132, Brooklyn, NY 112117-$16 for The Mount, by Carol Em-shwiller; Tachyon Publications, 1459 18th Street #139, San Francisco, CA 94107-$14.95 for The Shadow Hunter, by Pat Murphy, $15.00 for The Phoenix and the Mirror, by Avram Davidson.

It was another good year for short-story collections. The year’s best collections included: The Birthday of the World (HarperCollins), by Ursula K. Le Guin; Black Projects, White Nights; The Company Dossiers (Golden Gryphon), by Kage Baker; Toast and Other Rusted Futures (Cosmos), by Charles Stress; Worlds Enough amp; Time (Subterranean), by Dan Simmons; Strange But Not a Stranger (Golden Gryphon), by James Patrick Kelly; The Retrieval Artist and Other Stories (Five Star), by Kristine Kathryn Rusch; Vinland the Dream and Other Stories (Voyager), In Another Country and Other Short Novels (Five Star), by Robert Silverberg; Stories of Your Life and Others (Tor), by Ted Chiang; The Lady Vanishes and Other Oddities of Nature (Five Star), by Charles Sheffield; Everything’s Eventual (Scribner), by Stephen King, Aristotle and the Gun and Other Stories (Five Star), by L. Sprague de Camp; and Phase Space (Voyager), by Stephen Baxter. (It’s worth noting that the Le Guin, the Baker, the Stress, the Simmons, the Kelly, the Rusch, and the Chiang collections all contain original stories.)

Other good collections included The Fantasy Writer’s Assistant and Other Stories (Golden Gryphon), by Jeffery Ford; The Great Escape (Golden Gryphon), by Ian Watson; Strangers and Beggars (Fairwood Press), by James Van Pelt; Hunting the Snark and Other Short Novels (Five Star), by Mike Resnick; Rosetti Song: Four Stories (Small Beer Press), by Alex Irvine; Dragon’s Island and Other Stories (Five Star), by Jack Williamson; The Mountain Cage and Other Stories (Meisha Merlin), by Pamela Sargent; Human Voices (Five Star), by James Gunn; Counting Up, Counting Down (Del Rey), by Harry Turtledove; The Ogre’s Wife (Obscura Press), by Richard Parks; Babylon Sisters and Other Posthuman Stories (Prime), by Paul Di Filippo; God Is an Iron and Other Stories (Five Star), by Spider Robinson; Little Doors (Four Walls, Eight Windows), by Paul Di Filippo; Generation Gap and Other Stories (Five Star), by Stanley Schmidt; If Lions Could Speak (Cosmos), by Paul Park; Report to the Men’s Club and Other Stories (Small Beer Press), by Carol Emshwiller; Death and the Librarian and Other Stories (Five Stars), by Esther Friesner; Waifs and Strays (Viking), by Charles de Lint; Through My Glasses Darkly (KaCSFFS Press), by Frank Robinson, selected and edited by Robin Wayne Bailey; Claremont Tales II (Golden Gryphon), by Richard Lupoff; Swift Thoughts (Golden Gryphon), by George Zebrowski; and Lord Stink and Other Stories (Small Beer Press), Judith Berman.

The year also featured excellent retrospective collections such as The Collected Stories of Greg Bear (Tor), by Greg Bear; Smoke Ghost amp; Other Apparitions (Midnight House), by Fritz Leiber; Going For Infinity (Tor), by Poul Anderson; Keith Laumer: The Lighter Side (Baen), by Keith Laumer; One More for the Road (Morrow), by Ray Bradbury; The Amazing Dr. Darwin (Baen), by Charles Sheffield; Selected Stories of Philip K. Dick (Pantheon), by Philip K. Dick; Nightmare at 20,000 Feet (Tor), by Richard Matheson; Med Ship (Baen), by Murry Leinster; The Collected Stories of Jack Williamson; Volume Four: Spider Island and Other Stories, by Jack Williamson; The Emperor of Dreams (Gollancz), by Clark Ashton Smith; Maps: The Uncollected John Sladek (Big Engine), by John Sladek; and Bright Segment: The Complete Short Stories of Theodore Sturgeon, Volume VIII (North Atlantic), by Theodore Sturgeon.

It’s good to see regular trade publishers such as Tor and HarperCollins publishing collections, especially major, important collections such as the Bear, the Anderson, the Chiang, and the Le Guin, but, as has been true for many years now, it’s still the small press publishers who are publishing the bulk of the year’s collections. New book line Five Star Books exploded on the scene with an unprecedented twelve collections, but Golden Cryphon Press held its own with six, and may have had the edge in overall quality, although both houses brought out first-rate collections this year. But as you can see from the lists above, publishers such as NESFA Press, Four Walls, Eight Windows, and North Atlantic remain important as well, as do even smaller presses such as Fairwood Press. Print-on-demand collections are becoming more frequent as well, with collections from Charles Stross, Paul Park, John Sladek, and others, coming out from POD houses such as Cosmos/Wildside and Big Engine, and I suspect that this area will grow in importance as a source of short-story collections as the years go by. (Toast, by Charles Stross and If Lions Could Speak, by Paul Park can be ordered from Wildside Press at www.wildsidepress.com. Maps: the Uncollected John Sladek, by John Sladek, can be ordered from Big Engine Press at www.bigengine.com.)

“Electronic collections” continue to be available for downloading online at sites such as Fictionwise and ElectricStory, and I expect that this area will continue to grow as we progress into the century as well.

As very few small-press titles will be findable in the average bookstore, or even in the average chain superstore, means that mail-order is still your best bet, and so I’m going to list the addresses of the small-press publishers mentioned above who have little presence in most bookstores: Golden Gryphon Press, 3002 Perkins Road, Urbana, IL 61802-$24.95 for Black Projects, White Knights: The Company Dossiers, by Kage Baker, $25.95 for Strange but Not a Stranger, by James Patrick Kelly, $23.95 for The Fantasy Writer’s Assistant and Other Stories, by Jeffrey Ford, $23.95 for The Great Escape, by Ian Watson, $23.95 for Claremont Tales II, by Richard Lupoff; $24.95 for Swift Thoughts, by George Zebrowski; Midnight House, 4128 Woodland Park Ave., N. Seattle, WA 98103-$40.00 for Smoke Ghost and Other Apparitions, by Fritz Leiber; Fairwood Press, 5203 Quincy Ave SE, Auburn, WA 98092-$17.99 for Strangers and Beggars, by James Van Pelt; Haffner Press, 5005 Crooks Rd., Suite 35, Royal Oak, MI 48G73-1239-$35.00 plus $5.00 postage for The Collected Stories of Jack Williamson, Volume Four: Spider Island and Other Stories, by Jack Williamson; Small Beer Press, 360 Atlantic Avenue, PMB# 132, Brooklyn, NY 11217-$16.00 for Report to the Men’s Club and Other Stories, by Carol Emshwiller, $6.00 including shipping for Rosetti Song: Four Stories, by Alex Irvine, $6.00 including shipping for Lord Stink and Other Stories, by Judith Berman; Obscura Press, P.O. Box 1992, Ames, 1A, 50010-$18.95 for The Ogre’s Wife, by Richard Parks; KaCSFFS Press, P.O. Box 36212, Kansas City, MO, 64171-6212-$15.00 for Through My Glasses Darkly, by Frank M. Robinson; Prime, P.O. Box 36503, Canton, OH 44735-$17.95 for Babylon Sisters and Other Posthuman Stories, by Paul Di Filippo; North Atlantic Press, P.O. Box 12327, Berkeley, CA 94701-$35.00 for Bright Segment: The Complete Short Stories of Theodore Sturgeon, Volume VIII.

2002 was another strong year for reprint anthologies; in fact, the reprint anthology market was actually stronger than the original anthology market, with a lot more value for your buck.

Among the most reliable bets for your money in this category, as usual, were the various “Best of the Year” anthologies. This year, science fiction was covered by three “Best of the Year” anthology series: the one you are holding in your hand (presumably, unless you’re levitating it with your vast mental powers), The Year’s Best Science Fiction series from St. Martin’s, now up to its twentieth annual volume; the Year’s Best SF series (Eos) edited by David G. Hartwell, now up to its eighth annual volume, and a new science fiction “Best of the Year” series added to the mix last year, Science Fiction: The Best of 2002 (ibooks), edited by Robert Silverberg and Karen Haber. Once again, there were two Best of the Year anthologies covering horror in 2002: the latest edition in the British series The Mammoth Book of Best New Horror (Robinson, Caroll amp; Graff), edited by Stephen Jones, now up to Volume Thirteen, and the Ellen Dallow half of a huge volume covering both horror and fantasy, The Year’s Best Fantasy and Horror (St. Martin’s Press), edited by Ellen Datlow and Terri Windling, this year up to its Fifteenth Annual Collection. For the second year in a row, fantasy is being covered by three Best of the Year anthologies, by the Windling half of the Datlow/Windling anthology, by the Year’s Best Fantasy (Eos), edited by David G. Hartwell and Katherine Cramer, now up to its third annual volume, and by a new “Best of the Year” series covering fantasy introduced last year, Fantasy: The Best of 2002 (ibooks), edited by Robert Silverberg and Karen Haber, now in its second year. Similar in a way, and also good, is the annual Nebula Award anthology, Nebula Awards Showcase 2002 (Harcourt Brace Jovanovich), edited by Kim Stanley Robinson.

Turning from series to stand-alone books, there were some excellent retrospective anthologies this year. The best of these is the exceptional The Hard SF Renaissance (Tor), edited by David G. Hartwell and Kathryn Cramer, probably the best reprint anthology of the decade so far, and one of the best to come out in the last ten years as well. I don’t always agree with Hartwell and Cramer’s critical opinions and rhetoric, expressed in the extensive storynotes and introductions, and I don’t always agree that all of their selections are a perfect fit for the book, but when any anthology includes 960 pages filled with stories such as Greg Egan’s “Wang’s Carpets,” Paul McAuley’s “Gene Wars,” Poul Anderson’s “Genesis,” Michael Swanwick’s “Griffin’s Egg,” Bruce Sterling’s “Taklamakan,” Stephen Baxter’s “On the Orion Line,” and thirty-five other good-to-great stories by writers such as Nancy Kress, Joe Haldeman, Hal Clement, Kim Stanley Robinson, Brian Stableford, Alastair Reynolds, Charles Sheffield, Gregory Benford, and many others, then it becomes pointless to quibble about such things. This book is a great read, and an invaluable reference anthology if you want a picture of how SF is evolving in the Oughts, and even at $39.95, it’s one of the best reading bargains you’re going to find this year; buy it. The Mammoth Book of Science Fiction (Carroll amp; Graf), edited by Mike Ashley, is not quite as exceptional as the Hartwell/Cramer anthology, but is still a good solid value, featuring first-rate stories such as Connie Willis’s “Firewatch,” Michael Swanwick’s “The Very Pulse of the Machine,” Damon Knight’s “Anacron,” Greg Egan’s “The Infinite Assassin,” Geoffry A. Landis’s “Approaching Perimelasma,” Clifford D. Simak’s “A Death in the House,” and lots of others. The Great SF Stories (1964) (NESFA Press), edited by Robert Silverberg and Martin H. Greenberg, takes a look back at the year 1964, when classic stories such as Jack Vance’s “The Kraken,” Roger Zelazny’s “The Graveyard Heart,” Fritz Leiber’s “When the Change Winds Blow,” Gordon R. Dickson’s “Soldier, Ask Not,” Ursula K. Le Guin’s “The Dowry of Angyat,” and Norman Kagan’s “Four Brands of Impossible” appeared, demonstrating that it was a very good year indeed. And The Ultimate Cyberpunk (ibooks), edited by Pat Cadigan, takes a look back into the more-recent past, at the Cyberpunk Revolution of the mid-’80s, examining some of cyberpunk’s rarely mentioned roots in stories such as James Tiptree’s “The Girl Who Was Plugged In,” Cordwainer Smith’s “The Game of Rat and Dragon,” Philip K. Dick’s “We Can Remember it for You Wholesale,” and Alfred Bester’s “Fondly Farenheit,” and then passing through some canonical stories such as William Gibson’s “Burning Chrome,” Greg Bear’s “Blood Music,” William Gibson and Michael Swanwick’s “Dogfight,” Bruce Sterling’s “Green Days in Brunei,” and Cadigan’s own “Patterns,” before considering more-recent progressions of the form such as Paul McAuley’s “Dr. Luther’s Assistant.” At $16.00 for the trade paperback, this is a great reading bargain, and another valuable reference anthology.

Noted without comment: Future Sports (Ace), edited by Jack Dann and Gardner Dozois, and Beyond Flesh (Ace), edited by Jack Dann and Gardner Dozois.

The most important reprint fantasy anthology this year (indeed, one of the only reprint fantasy anthologies this year, other than the two Fantasy Bests and the Windling half of the Datlow/Windling) was The American Fantasy Tradition (Tor), edited by Brian M. Thomsen and Martin H. Greenberg, which gives a comprehensive overview of the evolution of American fantasy, from stories by Nathanial Hawthorne, Stephen Vincent Benet, Mark Twain, and Robert W. Chambers on to more recent classics such as H. P. Lovecraft’s “The Shadow Over Innsmouth,” Manly Wade Wellman’s “O Ugly Bird!,” R. A. Lafferty’s “Narrow Valley,” Shirley Jackson’s “The Lottery,” Ray Bradbury’s “The Black Ferris,” Harlan Ellison’s “The Whimper of Whipped Dogs,” Orson Scott Card’s “Hatrack River,” and many others.

Other than the Stephen Jones “Best” anthology and Datlow’s half of the Datlow A Vindling anthology, there didn’t seem to be many reprint horror anthologies this year either, but then again, I wasn’t looking intensively for them either. I did spot The Literary Werewolf: An Anthology (Syracuse University Press), edited by Charlotte F. Otten, which could also be considered to be a fantasy anthology instead, I suppose, depending on how you squint at it.

It was an unexceptional year in the SF-and-fantasy-oriented nonfiction and reference book field, although there were a slew of literary biographies and studies of the work of individual authors, including L. Frank Baum: Creator of Oz (St. Martin’s), by Katharine M. Rogers; The Science Fiction of Cordwainer Smith (MacFarland), by Karen L. Hellekson; A. E. van Vogt: Science Fantasy’s Icon (H. L. Drake), by H. L. Drake; Mervyn Peake: My Eyes Mint Gold: A Life (Overlook), by Malcolm Yorke; Harlan Ellison: The Edge of Forever (Ohio State), by Ellen Weil and Gary K. Wolfe; Starlight Man: The Extraordinary Life of Algernon Blackwood (Constable), by Mike Ashley; The Age of Chaos: The Multiverse of Michael Moorcock (The British Fantasy Society), by Jeff Gardiner; Clive Barker: The Dark Fantastic (HarperCollins), by Douglas E. Winter, and Isaac Asimov: It’s Been a Good Life (Promethaeus Books), edited by J. O. Jeppsen, a nonfiction collection of excerpts from Asimov’s three previous autobiographical volumes. Of books of this sort this year, the most accessible to the average reader, and probably the most enjoyable, would be Judith Merril’s “autobiography,” Better to Have Loved: The Life of Judith Merril (Between the Lines, 720 Bathurst St., Suite 404, Toronto, Ontario M5S 2R4, C$29.95), by Judith Merril and Emily Pohl-Weary. The quotation marks around “autobiography” are there because Merril didn’t live to complete the full-dress autobiography she’d had planned, and there are only pieces of it here, with the book filled out with articles, letters, and other autobiographical snippets Merril produced for one reason or another over the years. There’s still enough here though to give you a bit of the flavor of Merril’s colorful, highly opinionated, passionate, and forceful personality, make this an entertaining read, and make you wish that she’d been able to complete a full autobiography before her untimely death.

More generalized reference books this year included Supernatural Fiction Writers: Contemporary Fantasy and Horror, Volumes I amp; II (Scribner), edited by Richard Bleiler; The Battle of the Sexes in Science Fiction (Wesleyan), by Justine Larbalestier; Once There Was a Magazine (Beccon), by Fred Smith; John W. Campbell’s Golden Age of Science Fiction (DMZ), by Eric Solstein; Smokin’ Rockets (McFarland), by Patrick Lucanio and Gary Coville; and, probably the most accessible of these for the average reader, a collection of essays by horror writer Ramsey Campbell, Ramsey Campbell, Probably: On Horror and Sundry Fantasies (PS Publishing), by Ramsey Campbell.

The most generally enjoyable books in this category this year (or at least they sort of fit into this category; although they’re not a perfect fit anywhere) are two “travel guide” books, Roswell, Vegas, and Area 51: Travels with Courtney (Wormhole Books, 413 High St., Fort Wayne, IN 46808, $15.00), by Connie Willis, and A Walking Tour of the Shambles (American Fantasy Press, P.O. Box 1059, Woodstock, IL 60098, $15.00), by Gene Wolfe and Neil Gaiman. A Walking Tour of the Shambles is a whimsical and good-naturedly grotesque “travel guide” to an imaginary Chicago neighborhood filled with enchanted places and magical people, and Roswell, Vegas, and Area 51: Travels with Courtney is a caustic, sharp-eyed, and very funny tour through real places so bizarre and unlikely that they might just as well be the products of a fantasy writer’s fevered imagination (and it makes it even funnier that they are not).

As has been true for the last few years, the art book field was very strong this year. Among the best of the art books were Fantasy Art Masters: The Best in Fantasy and SF Art Worldwide (Collins), by Dick Jude; Paper Tiger Fantasy Art Gallery (Paper Tiger), edited by Paul Barnett; The Art of Jeffrey Jones (Underwood Books), edited by Cathy and Arnie Fenner; The Science Fiction Art of Vincent Di Fate (Paper Tiger), by Vincent Di Fate; Perceptualistics: Art by Jael (Paper Tiger), by Jael and John Grant; Manchu: Science (Fiction) (Guy Delcourt), by Manchu; Dragonhenge (Paper Tiger), by Bob Eggleton and John Grant; GOAD: The Many Moods of Phil Hale (Donald M. Grant), by Phil Hale, and the latest edition in a Best-of-the-Year-like retrospective of the year in fantastic art, Spectrum 9: The Best in Contemporary Fantastic Art (Underwood), by Kathy Fenner and Arnie Fenner.

There were only a few general genre-related nonfiction books of interest this year. The Extravagant Universe: Exploding Stars, Dark Energy, and the Accelerating Cosmos (Princeton University Press), by Robert P. Kirshner, may help you make sense of recent cosmological discoveries (primarily, that the universe is not only expanding, but accelerating as it expands) that have turned our entire picture of the nature of the universe upside-down. You may be prepared for some possibly even weirder future revelations if you check out one of the most fiercely controversial books in years, A New Kind of Science (Wolfram Media), by Stephen Wolfram, which puts forth the radical idea that the entire universe is controlled by the same basic set of rules that control cellular animations. To bring things back to Earth, there’s the late Stephen Jay Gould’s last book, The Structure of Evolutionary Theory (Harvard University Press), but although Gould’s lucid prose and experience at explaining scientific theory in comprehensible terms help, this is primarily aimed at specialists, and there are probably few laymen who are going to be willing to devote the time and brainwork necessary to absorb and comprehend its thousand-plus pages of text. For a less demanding and more easily graspable and enjoyable book that covers at least some of the same ground, take a look at The Life of Mammals (BBC Books), by David Attenborough, which examines in fascinating detail (complete with gorgeous color photographs) the strange and wonderful lifeways of some of the creatures we share our planet with, lifeways that are often far more astonishing and strange than those of most SF writers’s aliens. It’s hard to come up with a really credible genie-related justification for listing the next book, except perhaps that many SF fans are also history buffs, but in spite of that I’m going to recommend that you go out and buy a copy of The Cartoon History of the Universe III: From the Rise of Arabia to the Renaissance (W.W. Norton amp; Company), by Larry Gonick, one of the most informative, sharp-witted, erudite, and flat-out funny books you’re likely to find on the shelves anywhere, and one that’s perhaps particularly germane and valuable this year, as another war in the Middle East looms on the horizon, dealing centrally as it does with the birth and spread of Islam, and some of the root causes of misunderstandings between it and the West. Perhaps a similar weak justification could be used to work-in a mention of Sahara (St. Martin’s), by Michael Palin, which documents a grueling trip around the war-torn Saharan Africa, and shows just how closed-off and inaccessible many of the areas of our planet have become, as war, feral nationalism, and religious intolerance close border after border to the ordinary traveler, leaving us living on a planet where it may be easier to go to the Moon than to go from one country to the country next door.

It was another fairly good year for fantasy movies, but an unimpressive one for science fiction movies, in spite of the release of new entries in the two most successful media SF series of all time.

The big story of the year, easily overshadowing the new Star Wars movie in terms of the buzz and excitement it generated (and it is itself an interesting sign of the times that that can be said), was the second Lord of the Rings movie, The Lord of the Rings: The Two Towers. Although there are considerably more changes made here from the storyline of Tolkien’s text than there had been in the first movie, and in some ways more substantive ones, the movie remained true to the spirit of Tolkien’s great work, and all but the most fanatically obsessed fans seemed to be willing to cut Director Peter Jackson some slack. At any rate, although there were quibbles in plenty, they lacked any real force, and the overwhelming majority of Tolkien fans seemed willing to embrace the movie in spite of departures from the Sacred Cannon. There is a lot worth embracing: even if some of Tolkien’s more subtle nuances are lost, the movie is fast-paced and tremendously exciting, shot through with moments of both terror and wonder (although not as quite as many of the later as I’d have liked; the scene of Gandalf and Bilbo relaxing and blowing magical smoke-rings in Fellowship of the Rings was one of the most effective of the whole movie for me, and I’d liked to have seen a few more moments of quiet wonder here as well) and not only features good performances on every level from the live actors, but what is surely by far the best “performance” ever from a CGI-created or animated creature, as Gollum comes close to stealing the movies even from gifted professionals such as Ian McKellan and Christopher Lee. The Two Towers is certainly one of your very best bets this year for good value in return for your money, and if for some odd reason (a supernaturally enforced quota? An aesthetic diet?) you can only see one of 2002’s genre movies, this is undoubtedly the one to see.

The new Harry Potter movie, Harry Potter and the Chamber of Secrets, also seems to have satisfied its picky and fanatically loyal fan base, making few (if any) changes from the text of J. K. Rowling’s novel, and also did well at the box-office, although not quite as well as the first one had. It’s a darker movie, a lot more scary, more suspenseful and faster-paced than last year’s Harry Potter and the Sorcerer’s Stone, but with even less of the feeling of enchantment and wonder than the previous movie had managed to generate. As I said last year for a film about a school for magicians, especially one loaded with CGI-effects, the film lacks magic somehow-that’s even more true of Chamber of Secrets than it was of Sorcerer’s Stone, perhaps because the movie hurtles along at a headlong-enough pace not to have room for even the few evocative magical set-pieces the first film managed to work in. None of these quibbles matter anyway, though, because the movie’s main audience is kids, and the kids seemed perfectly happy with it, and, even more important, no doubt will be perfectly willing to drag their parents (willingly or unwillingly) to the next film in the series.

The year’s other heavy-hitter at the box-office was Spider-Man, which I suppose most people wouldn’t consider to be a fantasy movie, but which is certainly not a science fiction movie (or at least not a good one), as the “science” is complete nonsense-what it really is, of course, is a comic-book movie, practically a genre of their own, which straddle the borderline of both fantasy and science fiction, and play by their own aesthetic rules and their own brand of internal logic (which is why nobody ever realizes that Clark Kent looks exactly like Superman with glasses on). By the rules of real-world logic that the rest of us operate on, Spider-Man makes not a lick of sense, of course, but judged on its own terms, by comic-book aesthetics and comic-book logic, it’s a pretty good version of the adventures of perhaps the most famous superhero of all, after Superman and Batman. Spider-Man was always the comic of choice of intellectual nerds who got slammed up against lockers in high-school and laughed at in gym class, and the movie does a good job of capturing this part of the character’s appeal, with Tobey McGuire somehow managing to actually look like one of Steve Ditko’s drawings of the scrawny, squamulous, lopsided-headed Peter Parker in some of the early scenes. Even after the character’s transformation into a being with vast superpowers, when we’re deep into classic wish-fulfillment/Revenge Fantasy territory, McGuire does a good job of somehow letting us know that, deep inside the skintight costume and the bulging muscles, Peter Parker realizes that he’s still a loser no woman would touch with a stick-an intelligent job of acting. Spider-Man is the most successful film version of a comic-book, both critically and financially, since The X-Men, if not the original Tim Burton Batman, and not only has spawned a new franchise, with several sequels already in the works, but has sent producers scurrying to buy film rights to every comic-book they can find, no matter how obscure. So, like it or loathe it, there’s lot more of this stuff yet to come.

Things were less interesting on the science fiction side of the ledger. The most commercially successful of the year’s SF movies was also in some ways the most disappointing: Star Wars: Episode II-Attack of the Clones still managed to pack in the audiences, but was savaged critically, and, more significantly, didn’t get good word-of-mouth afterward from People who’d seen it, with even most stone Star Wars fans being unable to find anything more positive about it to say than “it was better than The Phantom Menace, anyway.” In spite of good special effects, evocative CGI-generated or augmented sets, wonderful costuming and set-dressing, and even a few good fight scenes (the light-saber battle between Yoda and Christopher Lee was a knockout, but unfortunately was good enough to make most of the rest of the movie look even more limp by comparison), this lack of enthusiasm Was not unearned-the dialog was awful, the storyline made even less sense than it had in The Phantom Menace (and twisted the backstory into even more contradictory knots), and the acting was so flat and wooden throughout, even from ordinarily good actors, that one finds it hard not to give some credence to the rumor that Lucas deliberately directs them to act that way. Hayden Christensen as Anakin Skywalker is an improvement over that creepy little kid from the previous movie, but his portrayal of the Darth-Vader-To-Be as a sullen, whiny, and sulky teenager, seemingly always on the verge of throwing a tantrum and holding his breath until he turns blue (“Why CAN’T I be the most powerful Jedi Knight? I WANNA be the most powerful Jedi Knight! You never let me do ANYTHING!”), lacks any sort of impact or conviction (his love scenes are enough to make a cat laugh), and drains the power from what, in the right hands, could have been an archetypically potent role. A review from The New York Times famously referred to Attack of the Clones as “a two-hour-and-12-minute action-figure commercial,” and, sadly, that largely sums it up.

Meanwhile, over at media SF’s other most famous franchise, things weren’t much better; in fact, in some ways, they were worse. The new Star Trek movie, Star Trek: Nemesis, didn’t do a lot better than Attack of the Clones with the critics (it did a little better: usually the reviews were lukewarm rather than scathing), and it did considerably worse at the box-office-not a total bomb, but certainly a disappointment, in terms of what they hoped it would draw, and what it cost to make. Again, even long-term, hardcore Star Trek fans seemed unexcited by it, and the movie generated little or no buzz even among media fans, let alone the general audience. Combined with the tepid performance of the current Star Trek television series, Enterprise, the mediocre performance of Star Trek: Nemesis is a major blow to the franchise, and radically decreases the chance of there ever being another Star Trek theatrical movie, as even the producers are ruefully admitting in public.

Minority Report and Signs, on the other hand, did make a lot of money, although I, finicky bastard that I am, was unimpressed with either. I liked Minority Report better than Signs- a sickly blend of science fiction and horror, freighted with an inspirational message about Faith and Redemption-but found it depressing that stories drawn from Philip K. Dick’s work, as Minority Report is, somehow always seem to come out more about car-chases, action scenes, and big explosions than about the intellectual/philosophical/mystical territory that Dick explored in such intricate and unsettling detail. Men in Black II was a limp sequel that managed to be not even half as much fun as the original, in spite of pumping in more special effects, more silly aliens, and lots more gags (fewer of which were really funny). Will Smith and Tommy Lee Jones do their best at being frenetic and charming, but they mostly just look tired, particularly Tommy Lee Jones, who looks throughout like he’s grumpy after being woken up from a long nap on the sofa. Solaris, the remake of the old Russian film version of Stanislaw Lem’s novel of the same name, was too lowbrow for the author, who criticized it sharply, and too highbrow for the viewing audience, who stayed away in droves. Reign of Fire had the last men on Earth earnestly fighting a plague of CGI dragons, rather than just instructing the special effects people to turn them off. And the latest Eddie Murphy vehicle, The Adventures of Pluto Nash, was such an enormous bomb that echoes of it are still washing back-and-forth between the Hollywood Hills, a sci-fi movie so bad that it makes you cry grateful tears to have something as good as Men in Black II to watch. And that was about it for science fiction films this year, live-action ones, anyway.

Two of the most successful films last year were animated features, Monsters, Inc. and (especially) Shrek, but this year’s animated films met with varying fates at the box-office. Disney’s Lilo and Stitch was very successful, both commercially and critically, a slightly edgier film (although, of course, still “warm-hearted” at base) then is usual from Disney, with vigorous and highly stylized-although somewhat crude-animation, lots of slapstick Roadrunner-style action, and a generous sprinkling of genuinely witty lines and incidental bits of business; it reminded me more of The Emperor’s New Groove from a few years back-loose-jointed and jazzy, with a lot of anachronistic, self-referential postmodern chops-than the standard non-Pixar Disney product. On the other hand, Disney’s Treasure Planet, a film with much more traditional Disney aesthetics, storytelling choices, and animation style, was a box-office disaster, especially considering how much it cost to make. The large number of direct-to-video quick-knockoff sequels of Disney classics that the studio cranked out this year- Peter Pan II, The Little Mermaid II, and so forth-didn’t seem to be setting the world on fire either. Coupled with the failure of last year’s traditional Disney animated feature, Atlantis, and the success of films such as Shrek, far ruder and cruder than the Disney average, I wonder if this doesn’t indicate that there’s been a fundamental shift in the taste of the audience. Kids who have grown up watching cartoons on Nickleodeon, stuff like SpongeBob and Dexter’s Laboratory and Rug-Rats and The Powerpuff Girls, may now want something edgier and hipper and zanier in their full-length animated movies than anything that Disney usually gives them. Ice Age also did well at the box-office and shared some of the same kind of self-referential postmodern humor as Lilo and Stitch or The Emperor’s New Groove, but I found it more heavy-handed and not as imaginative or engaging as either of those films. And the Japanese Spirited Away, aimed at an adult rather than a children’s audience, did very well with the critics, but was hard to find anywhere except in art-houses in the very biggest cities.

There were lots of horror movies, I’m sure, but I didn’t go see any of them, so you’re on your own there.

Coming up next year: More Sequels! (What a surprise!) 2004 or late 2003 should see the final Lord of the Rings movie, a new Harry Potter movie, two new Matrix movies, a new X-Men movie, maybe a new Spider-Man movie, and so forth. Maybe even a couple of stand-alone movies! (Or maybe not.)

In closing, it’s interesting to realize that all but two or three of the list of the twenty highest-grossing movies of all time are science fiction or fantasy films! No wonder the studios can swallow a bomb like The Adventures of Pluto Nash and not give up on making genre films!

It wasn’t a very good year for SF and fantasy on television either. Although Stargate SGI is doing better than ever in the ratings, the Sci-Fi Channel canceled Farscape (which hadn’t significantly built its audience) in spite of anguished howls of protest from its devoted fan base and a hastily organized write-in and e-mail campaign petitioning the Sci-Fi Channel execs to keep it alive. (They canceled Farscape, one of the few relatively intelligent SF shows on the air, and immediately announced plans to re-run Battlestar Galactica, one of the dumbest and most pallidly horrid SF series of all time, and what’s more, a show that almost no one liked the first time around; at least Farscape had people who actually wanted to watch it, before the plug was pulled, while I’ve talked to no one who feels anything other than sadness, distaste, and vague dread that Battlestar Galactica is coming back. Go figure. Those wacky Suits!)

The new Star Trek series, Enterprise, now in its sophomore year, is not doing badly, but it is doing worse in the ratings than any of the other Star Trek series did, and its future may also be in doubt. With the indifferent performance of the new Star Trek theatrical movie, Star Trek: Nemesis, and Enterprise’s relatively mediocre numbers, it suddenly looks as if the whole franchise may be in danger, and we might be faced with the prospect of-horror of horrors!-a world without Star Trek!! If this dire possibility actually comes to pass, fans can console themselves with the Trek novels, I suppose, which show no sign of stopping (in fact, they’re selling better than ever), with Trek computer games (ditto), and with the fact that re-runs of the various Trek shows will probably be in syndication for years-if not decades-to come. Which raises the odd possibility that the various Star Trek spin-off products may continue to sell vigorously long after there’s no longer an original franchise show running anywhere on television.

Firefly, the much-hyped and much anticipated new “space western” from Buffy, the Vampire Slayer creator Joss Whedon, debuted this year, but even the hardest-core Buffy fans hated it, it failed to either carry the Buffy audience or find alternative audiences of its own, the ratings were disastrous, and it was cancelled by mid-season, in spite of all of Whedon’s clout and all the pressure he could bring to bear on network execs to save it. Meanwhile, the end is finally in sight for Buffy, the Vampire Slayer itself, after two years of disappointing episodes and decreasing ratings, with the announcement that Sarah Michelle Geller, who portrays Buffy, is leaving the show at the end of the current seventh season for greener pastures in the film world. There are rumors about another possible Buffy spin-off series, but as I type these words, nobody knows what such a series would be, who would be in it, or, most important, if there’s going to even be one in the first place. It’s also unknown as I type this whether or not the network is going to renew the original Buffy spin-off series, Angel, for another season-too bad if they don’t, Angel has been pretty good this year, better, in fact, than its parent series has been (Angel’s writing seeming to improve in quality as Buffy’s relentlessly declined). Again, it’s interesting to see how quickly these TV franchise empires can fall apart-at the beginning of the year, Whedon’s production company was at the top of the television food-chain, with three shows running at once; by the end of 2003, it’s possible that they’ll have none. (Although Buffy and Angel novels and other franchise products may continue on long after both shows are gone, too, in the same way that the Star Trek products might).

Charmed and Sabrina, the Teenage Witch, similar if considerably more lightweight supernatural-themed shows, still seem to be pretty successful, Smallville remains a genuine smash, and The Dead Zone seems to be doing okay, but several new shows such as Birds of Prey and Haunted came and went almost before you could notice them, and The New Twilight Zone is a pale imitation even of the previous remake of the show, let alone the original series.

South Park and The Simpsons, if you consider them to be genre shows, are still around, but I no longer pay much attention to them. The more genre-specific Futurama is gone.

Taken was a big hit in the ratings, and covered very similar ground as Signs, but I don’t approve of shows that pander to and encourage the already too-prevalent UFO-abductee mania, and so I didn’t watch it. Dinotopia failed to find an audience, in spite of some very nice dinosaur effects. And The History Channel produced a very disappointing “history” of science fiction, one that ignored most of the real history of the form to concentrate instead on the history of sci-fi movies, and which left many hours of recorded interviews with actual SF writers on the cutting-room floor. (Let’s hope they do a better job with their other “historical” documentaries!)

Coming up next year, a new version of Mr. Ed, proving that the television execs are every bit as creative as the Hollywood moguls who brought us a remake of Lost in Space and who are in the process of bringing us a big-budget remake of Bewitched.

The 60th World Science Fiction Convention, ConJose, was held in San Jose, California, from August 30-September 3, 2002, and drew an estimated attendance of 5,500. The 2002 Hugo Awards, presented at ConJose, were: Best Novel, American Gods, by Neil Caiman; Best Novella, “Fast Times at Fairmont High,” by Vernor Vinge; Best Novelette, “Hell is the Absence of God,” by Ted Chiang; Best Short Story, “The Dog Said Bow-Wow,” by Michael Swanwick; Best Related Book, The Art of Chesley Bonestell, by Ron Miller and Frederick C. Durant III, with Melvin H. Schuetz; Best Professional Editor, Ellen Datlow; Best Professional Artist, Michael Whelan; Best Dramatic Presentation, The Lord of the Rings: The Fellowship of the Rings; Best Semiprozine, Locus, edited by Charles N. Brown; Best Fanzine, Ansible, edited by David Langford; Best Fan Writer, David Langford; Best Fan Artist, Teddy Harvia; plus the John W. Campbell Award for Best New Writer to Jo Walton; and the Cordwainer Smith Rediscovery Award to R. A. Lafferty.

The 2001 Nebula Awards, presented at a banquet at the Westin Crown Center in Kansas City, Missouri, on April 27, 2002, were: Best Novel, The Quantum Rose, by Catherine Asaro; Best Novella, “The Ultimate Earth,” by Jack Williamson; Best Novelette, “Louise’s Ghost,” by Kelly Link; Best Short Story, “The Cure for Everything,” by Severna Park; Best Script, Crouching Tiger, Hidden Dragon, by James Schamus, Kuo Jun Tsai, and Hui-Ling Wang; plus a special Lifetime Achievement Award to Betty Ballantine.

The World Fantasy Awards, presented at the Twenty-Eighth Annual World Fantasy Convention at the Hilton Towers in Minneapolis, Minnesota, on November 3, 2002, were: Best Novel, The Other Wind, by Ursula K. Le Guin; Best Novella, “The Bird Catcher,” by S. P. Somtow; Best Short Fiction, “Queen for a Day,” Albert E. Cowdrey; Best Collection, Skin Folk, by Nalo Hopkinson; Best Anthology, The Museum of Horrors, edited by Dennis Etchison; Best Artist, Allen Koszowski; Special Award (Professional), to Stephen Jones and Jo Fletcher (tie); Special Award (Non-Professional), to Raymond Russell and Rosalie Parker; plus the Life Achievement Award to George Scithers and Forrest J. Ackerman.

The 2002 Bram Stoker Awards, presented by the Horror Writers of America during a banquet in Chicago, Illinois, on June 8, 2002, were: Best Novel, American Gods, by Neil Caiman; Best First Novel, Deadliest of the Species, Michael Oliveri; Best Collection, The Man with the Barbed-Wire Fists, by Norman Partridge; Best Long Fiction, “In These Final Days of Sales,” by Steve Rasnic Tern; Best Short Story, “Reconstructing Amy,” Tim Lebbon; Nonfiction, Jobs in Hell, edited by Brian Keene; Best Anthology, Extremes 2: Fantasy and Horror from the Ends of the Earth, edited by Brian A. Hopkins; Best Screenplay, Memento, by Christopher Nolan and Jonathan Nolan; Best Work for Young Readers, The Willow Files 2, by Yvonne Navarro; Poetry Collection, Consumed, Reduced to Beautiful Gray Ashes, by Linda Addison; Best Alternative Forms, Dark Dreaming: Facing the Masters of Fear, by Beth Gwinn and Stanley Winter; plus the Lifetime Achievement Award to John Farris.

The 2001 John W. Campbell Memorial Award was won by Terraforming Earth, by Jack Williamson and The Chronoliths, by Robert Charles Wilson (tie).

The 2001 Theodore Sturgeon Award for Best Short Story was won by “The Chief Designer,” by Andy Duncan.

The 2001 Philip K. Dick Memorial Award went to Ship of Fools, by Richard Paul Russo.

The 2001 Arthur C. Clarke award was won by Bold as Love, by Gwyneth Jones.

The 2001 James Tiptree, Jr. Memorial Award was won by The Kappa Child, by Hiromi Goto.

Death struck the SF field heavily once again this year. Dead in 2002 or early 2003 were: DAMON KNIGHT, 79, author, editor, critic, anthologist, one of the most influential figures in the history of modern science fiction, editor of the long-running ORBIT anthology series, one of the founders of the Science Fiction Writers of America, author of dozens of classic SF stories such as “The Country of the Kind,” “Stranger Station,” “Dio,” “The Earth Quarter,” “Rule Golden,” “Mary,” and “To Serve Man,” as well as many novels such as The Man in the Tree, Why Do Birds?, and Humptey Dumptey: An Oval, a mentor and a friend to me ever since I entered this field, and an inspiration to generations of new writers; R. A. LAFFERTY, 87, eclectic and utterly individual writer, author of some of the freshest and funniest short stories ever written, such as “Narrow Valley,” “Thus We Frustrate Charlemange,” “Slow Tuesday Night,” “Hog-Belly Honey,” “The Hole on the Corner,” and many others, as well as quirky and challenging novels such as The Reefs of Earth, Past Master, Okla Hannali, The Fall of Rome, and The Devil is Dead, posthumous winner of the Cordwainer Smith Rediscovery Award; CHARLES SHEFFIELD, 67, scientist and Hugo-winning writer, author of The Web Between the Worlds, My Brother’s Keeper, Summertide, Transcendence, Cold as Ice, The Mind Pool, and many others, as well as much first-rate short fiction in both the SF and mystery fields, a personal friend; GEORGE ALEC EFFINGER, 55, critically acclaimed and Hugo-winning author of When Gravity Fails, A Fire in the Sun, The Exile Kiss, What Entropy Means to Me, The Nick of Time, The Wolves of Memory, and others, as well as dozens of short stories such as “Two Sadnesses,” “Schrodinger’s Kitten,” “Put Your Hands Together,” “Afternoon Under Glass,” “Everything but Honor,” “Naked to the Invisible Eye,” and many others, a personal friend for more than thirty years; JOHN MIDDLETON MURRY, Jr., 75, British writer who, as RICHARD COWPER, wrote such acclaimed SF novels as The Road to Corlay, A Dream of Kinship, A Tapestry of Time, and The Twilight of Briareus, and short fiction such as “Piper at the Gates of Dawn,” “The Custodians,” and “Out There Where the Big Ships Go”; ROBERT L. FORWARD, 70, scientist and writer, author of Dragon’s Egg, Starquake, The Flight of the Dragonfly, and other novels; LLOYD BIGGLE, Jr., 79, writer and musicologist, author of All the Colors of Darkness, The World Menders, The Angry Espers, The Still, Small Voice of Trumpets, and other novels and stories; CHERRY WILDER, 71, New Zealand-born author of The Luck of Brins Five, Second Nature, The Summer’s King, and other novels, as well as a large amount of eloquent short fiction; LAWRENCE M. JENIFER, 69, SF author whose work appeared in Astounding/Analog over the course of several decades, author of the popular “Knave” series, and of novels including Survivor, Knave in Hand, Knave in the Game, and others; HENRY SLEZAR, 74, SF and mystery writer, and prolific writer of television screenplays; JERRY SOHL, 88, SF novelist and television scriptwriter, author of Costigan’s Needle and Point Ultimate; JOHN R. PIERCE, 92, author, electrical engineer, and acoustics expert; KATHLEEN M. MASSIE-FERCH, 47, author, editor, anthologist, and scientist; MARY SCOTT, 54, British author; THOMAS E. FULLER, 54, SF writer and dramatist; DAVE VAN ARNAM, SF writer and fan; STEPHEN JAY GOULD, 60, biologist and evolutionary theorist whose controversial theory of “punctured evolution” inspired many SF writers, as well as one of the most popular “science popularizers” since Carl Sagan and Isaac Asimov, and whose long-running columns in Natural History magazine were collected into many books such as The Panda’s Thumb; VIRGINIA KIDD, 81, one of the last of the Futurians, writer, anthologist, and for more than forty years one of the leading literary agents in science fiction, a longtime friend and colleague; LESLIE FIEDLER, 85, respected literary critic who occasionally slummed in the SF world, author of a biography of Olaf Stapledon and of the “historical-critical” anthology of science fiction, In Dreams Awake; RON WALOTSKY, 58, one of the leading SF cover artists and illustrators, whose work was recently collected in Inner Visions: The Art of Ron Walotsky, a friend; CHUCK JONES, 89, the mastermind behind decades of “Looney Tunes” cartoons, including the Roadrunner series, and also of the-far superior to the later live-action remake-original animated version of How the Grinch Stole Christmas; BILL PEET, 87, artist, children’s book author, and part of the animation team that created many of the most classic Disney animated features; RICHARD HARRIS, 72, actor probably best known to the genre audience for his role as Professor Dumbledore in the two “Harry Potter” movies; ROD STEIGER, 77, actor, probably best known to genre audiences for his role in the film version of Ray Bradbury’s The Illustrated Man; JONATHAN HARRIS, 87, actor, probably best known to the genre audience for his role as the villainous but loveable Dr. Smith in the old television series Lost in Space; DONALD FRANSON, 85, writer and fan, coeditor (with Howard DeVore) of the invaluable reference source, A History of the Hugo, Nebula, and International Fantasy Award; BETSY CURTIS, 84, writer, fan, costumer; JON GUSTAFSON, 56, writer, editor, illustrator, longtime fan; WYNNE WHITEFORD, 87, Australian SF author and fan; WILLIAM SARJEANT, 66, author, geologist, and paleontologist; BRUCE PELZ, 65, longtime fan and convention organizer, chairman of the 1972 Worldcon; HARRY NADLER, 61, longtime British fan and film enthusiast; VIRGINIA HEINLEIN, 86, widow of SF writer Robert A. Heinlein, and the model for many of the female characters in his books; JOAN HARRISON, 72, wife of SF author Harry Harrison; JOAN BENFORD, 62, wife of SF writer Gregory Benford; DR. CHARLES NORTH, 62, partner of SF writer Liz Williams; DREW CHRISTIAN STAFANSON, 39, partner of SF writer M. Shayne Bell; MARY GUNN, 81, mother of SF writer and editor Eileen Gunn; and DEE L. FROST, 81, father of SF writer Gregory Frost.