- “Captain Future in Love (Part One)” by Allen Steele (serialized science fiction novella)
- “Harry’s Toaster” by Lawrence Watt-Evans (science fiction short story)
- “Beyond Human Measure” by Dave Creek (science fiction short story)
- “Flight of an Arrow” by Shirley Meier (short story)
- “Sister Solveig and Mr. Denial” by Kameron Hurley (science fiction short story)
- “Foster Earth” by Julie Czerneda (science fiction novelette)
- “Slipping Time” by Paul Levinson (fantasy short story)
- “When Angels Come Knocking” by Drew Hayden Taylor (fantasy short story)
The Fall 2018 issue of Amazing (which came out in August) marks yet another resurrection of the venerable title. As such, I’ll spend some time on general and non-fictional aspects of the magazine before moving on to its fiction.
The new Amazing is attractively presented, with interior illustrations and cartoons (the first is especially funny) enlivening its three-column layout which packs in a lot of wordage relative to its 104 pages. An interesting bit of style is the use of the first column of each story for a drawing of the author set above the biographical blurb. A problem (though less of one than for many other magazines) is that there are several typos or misspellings, poor word breaks, and uncorrected grammatical lapses. Its common in other magazines of this sort to present a fraction of an item followed by a “continued on Page N” and I appreciate that they don’t do this, but have complete non-fiction articles bookending the complete run of stories.
Speaking of that non-fiction, it opens with a presumably irregular “Publisher’s Note” from Steve Davidson which thanks everyone, living or not, who contributed to this revival and makes a good point about Amazing being not just a magazine, but a symbol of science fiction and “the genre’s birth place.” The rest of the non-fiction columns are presumably regular. Raconteur Robert Silverberg, the current Memory of the Field, relates his history with Amazing in an engaging piece. In the last piece before the fiction, NASA man Jack Clemons brings us a regular column on space exploration.
Moving to the back, there’s a “European Author Profile” (interview) from Gary Dalkin on Tade Thompson. While Wells and Verne were major early Europeans drafted by Amazing, I’m not sure what the real connection is and if simply profiling one of the authors published in the issue, like Analog and many other magazines do, wouldn’t have been better. Then there’s a movie review column from Steve Fahnestalk rather than a book review column (shades of some of Amazing‘s more multimedia periods) and, lastly, an editorial from Ira Nayman on the uses and abuses of stories, amazing or otherwise.
The fiction reminds me most of Galaxy’s Edge, overall. There’s science fiction and fantasy, the former is usually far from hard, and both include humor. There may also be some comparison to On Spec in that there’s a strong Canadian (specifically Ontarian) presence which includes the editor and a third of the authors.
It begins with a two-part serial of Allen Steele’s “Captain Future in Love” which, if the parts are at all equal, will be a novella. There is also a reprint of Rudy Rucker’s 2013 tale “Apricot Lane” which is typical of the author.
The original fiction opens with “Harry’s Toaster.” In the award-winning “Why I Left Harry’s All-Night Hamburgers” (IAsfm, July 1987), Harry runs a diner which serves as a nexus for travelers of parallel worlds and sometimes receives strange payments from them but the story primarily concerns his assistant. In this short, humorous (but lesser) follow-up, the focus is on Harry as he’s paid with a “toaster” which doesn’t have anything to do with bread.
“Beyond Human Measure” is also a sequel, this time to “Stealing Adriana” (Analog, October 2008), and related to others. Carrie Molina is guarding Vicari, the evil nut who tortured and killed Carrie’s sister Adriana. They are on a mission to try to save a sick Jupiter whale who is the only one who can broker a peace deal between other whales. Because of Vicari’s modifications, he’s the only one who can heal it. When Vicari falls ill himself and needs to take an extraordinary step to accomplish the mission, Carrie must choose between her hatred of him and her desire to, um, save the whale. Leaving aside Jupiter whales, Vicari’s uniqueness is implausible, the emotions aren’t convincing, there are repeated minor contradictions (such as Carrie saying she’d never turn her back on Vicari when she’s done just that immediately prior and will again later) and much “as you know, Bob” and telling rather than showing (such as Vacari saying, “I’ll walk all of you through this so it’s clear what I’m doing”). Finally, the story veers sharply from a sort of science fiction towards a sort of fantasy.
“Flight of an Arrow” conveys its grimdarkness well but is too sadomasochistic for me. It’s also categorically odd because, despite a practically impossible ending, I couldn’t find any fantasy (not to mention SF) in it. A small man who is poor with a sword but a superb archer attracts the animosity of an extremely ignoble noble and, after his wife is insulted and the men fight a duel with swords, the archer loses and is blinded, put into a miserable, filthy cell, and abused for a long period until the noble drunkenly offers him one chance at freedom.
“Sister Solveig and Mr. Denial” is a profanity-filled tale which is fixated on smells, so I might mention the musty odor of decayed cyberpunk this gives off. A wimp of a man and a super-warrior of a woman are “gene-freaks” who hunt down other gene-freaks, perhaps as victims of divide-and-rule. No changes are rung on the dystopian cli-fi scenario and the characters don’t come alive but some may find the pace and smart-aleck narration from the wimp give it energy.
“Slipping Time” is actually a pun on “timeslipping.” Sometimes, when the protagonist accidentally slips and falls, he travels backwards in time a few hours, days, or weeks. This gives him a do-over after a fight with his girlfriend. The ending doesn’t punch and, because it’s not mechanical or rationalized in any way, I call it a fantasy, but it’s a decent read.
A woman is trying to bead “When Angels Come Knocking” (or an angel, anyway). Gabriel’s come to tell her she’s been picked to be the next mother of the son of God but times have changed and she’s got her own opinions about that honor. This is much like “Slipping Time,” both in terms of its ending and overall readability, but did have an early line that hit me sideways and made me laugh out loud.
Saving the best for last, in “Foster Earth,” humanity is part of a six species “Hub” when aliens, who come to be called “The Silent,” go around dropping off some of their babies to each of those species. This does not generally go well. This story concerns two main threads: one of official investigations, with most of those scenes featuring scientist Zeynep Qadri, and a more personal experiment in which Ernest and Julia (Gallo?), who have recently lost a son, become foster parents of one alien infant. They all work to unravel the mystery of the aliens and establish meaningful contact. It all seems biologically implausible, the movement between scenes feels choppy, and, again, this is a little shaky on the dismount with the last line seeming overly forced and sentimental but it was engaging and read quickly. The Hub feels a bit like Isaac’s Universe (a shared universe created by Asimov in 1990) and that and the general story has a dash of Cherryh. The sense of a lively universe, median society, and real individuals being involved in intellectually and emotionally stimulating things was strongly conveyed and welcome.