- “Her Monster, Whom She Loved” by Vylar Kaftan (science fiction short story)
- “Harry and Marlowe and the Secret of Ahomana” by Carrie Vaughn (science fiction novelette)
- “The Last to Matter” by Adam-Troy Castro (science fiction novelette)
- “The Explainer” by Ken Liu (science fiction short story)
- “Hard Mary” by Sofia Samatar (science fiction novelette)
- “Abandonware” by Genevieve Valentine (fantasy short story)
- “Jump” by Cadwell Turnbull (fantasy short story)
- “You Pretend Like You Never Met Me, And I’ll Pretend Like I Never Met You” by Maria Dahvana Headley (fantasy short story)
- “Conspicuous Plumage” by Sam J. Miller (fantasy short story)
- “A Brief Guide to the Seeking of Ghosts” by Kat Howard (fantasy short story)
Lightspeed brings us a more-than-double special issue for its 100th number with five original SF stories, five original fantasy stories, plus extra reprints and non-fiction. (The online edition swaps two of the usual reprints for two bonus originals with the Kaftan, Vaughn, Castro, Valentine, Turnbull, and Headley being made available.)
“Monster” is a cosmic fantasy with scientific phrases sprinkled about and involves a goddess creating some children, one of whom is a monster, and follows their battle of the eons. It has a lot of the feel of June’s “Silent Sun.” “Ahomana” is a “shipwrecked on an island with a secret city” story with an additional component of alternate history in which “Harry” and Marlowe wander from their Victorian England (which has been modified with relics of alien tech) and discover the wonders of Ahomana. Even for being a part of a series and granting that this episode is finished, this is a middle and a bit long for its content but entertaining enough. “Matter” is a “jaded at the end of the worlds” story with a splash of posthumanism thrown over the New Wavy core. A man is ejected from his “orgynism” of perpetual sex to discover the City is dying and decides there are two ways to go and picks one. Some of this is repellent, the rest is common, and the end isn’t as deep as it purports to be. “Explainer” is metafiction nominally involving a repairman and a little girl, in which a broken (lying) house AI is relevant to the craft of fiction and, more generally, the drive for narrative.
The (perhaps excessively) gender-edged “Hard Mary” was much too long for its content (nearly a novella) but the oddly Simakian tale was the most interesting of the SF tales. Lyddie (narrator) and Mim (misfit genius) are effectively characterized young women living in an isolated religious village in the near future who, with some others, discover an abandoned, semi-functional robot they come to call “Hard Mary.” The (mostly mild) tension comes from multiple places including within and between the characters, between that group and the village, and between all of them and the “Profane Industries” men who created Mary.
“Abandonware” involves a broken narrator talking about a sort of VR game while covering her childhood and her current situation with a dead mother and a father who has replaced both of them. There’s a symbolic deer and some things that could be called hallucinations but no real fantasy or effect. “Plumage” takes us to an alternate 1950s where everyone has a fantastic talent, though the narrator’s hasn’t manifested because she first wants to learn more about the murder of her gay brother who “danced birds,” so to speak. From the street that went on forever to its questionable rock history and odd perspective on baseball to its ending, it’s unconvincing and “drops frames” at an increasing rate through the sketchy narrative. “Brief Guide” is no story but yet another ineffectual list (eleven sections on how to avoid or attract ghosts depending on season, weather, time of day, and a tip for the ghostless).
Moving up quite a way, “Pretend” is an initially darkly delightful tale of the less magical son of a magician who has to entertain at a birthday party. Naturally, he goes to a bar and hits on what turns out to be a bereaved mother whose child was killed and husband injured in a motorcycle accident. That turns out to be the high point of his day. His life hasn’t been much better, either, as we learn about his childhood, his dad, and deals with Death and/or the Devil. The sardonic tone and comical imagery (the magician’s bright yellow “lemon” of a VW Beetle accidentally ending up in a funeral procession, for instance) keep this story involving and entertaining and the only real problem is a somewhat incongruous and pat ending.
While much more understated (but consistent), “Jump” is the issue’s best story. One fine day, in an overflow of love and joy, Mike and his girlfriend Jessie teleport home. A desire to repeat the experience comes to obsess Mike while Jessie prefers to treasure the singular experience. For a time, she accedes to Mike’s efforts and, somewhere in there, they get married but this thing that cemented their relationship also tends to tear it apart. Very concise, yet well-realized and with some humor and pathos. Good stuff.