Showing posts with label poetry. Show all posts
Showing posts with label poetry. Show all posts

Sunday, 12 July 2026

Microinterview with Colleen Anderson

Colleen Anderson, author of the poem “In Our Nature” in The Future Fire #76, is this week’s microinterview guest, here to talk about her poem, betrayal and alternate history.


Art © 2026 Joel Bisaillon
TFF: What does “In Our Nature” mean to you?

Colleen Anderson: We think we always can tame nature. GMO, orchards, controlling “weeds” and making it work for us, but humanity has also done incredible damage to the world. Nature may one day rebalance and will not consider human want.

TFF: What is the thing that you find most difficult to forgive?

CA: Betrayal. To put trust in a friend or a family member who then does something that destroys a fundamental trust—that is unforgiveable.

TFF: What are you working on next?

CA: I’m working on an alternate history novel, a chapbook of “bad food” poems and on a collaboration of lost objects.


Extract
In the beginning—
there was no beginning
not for flowers, trees, glacial rivers
evolving with the planet’s cycles
swimming through acid erosion

Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2026/05/new-issue-202676.html.

Monday, 29 September 2025

Micro-interview with Naomi Simone Borwein

We’re joined by Naomi Simone Borwein, author of the wonderful poem “The Void Is in a Playful Mood Tonight” in The Future Fire #74, to talk about alienation, transmateriality, and writing.


Art © 2025, Carmen Moran

TFF: What does “The Void Is in a Playful Mood Tonight” mean to you?

Naomi Simone Borwein: On one level, this poem is about the conscious universe and “our” presence in it. On another level, it is about alienation.

TFF: Is poetry a speculative genre or medium by default, would you say?

NSB: Metaphor can be envisioned as a conceptual network of meaning(s) linked by more or less abstract layers of motile, sensory, and visual codices that are actualized through poetry; it is a somatic slippage of meaning. That transmateriality of meaning, which embodies divergent manifestations or reinterpretations of “reality” again and again, can be pretty surreal, speculative even, so potentially yes.

TFF: If you were the captain of a ship, what would you name her?

NSB: Dearly Departed.

TFF: What is the most important thing to remember about writing?

NSB:

  1. It’s trite but read every day and write every day, and if you cannot write, read read read until you can
  2. Writing is like channeling vengeful spirits

TFF: What are you working on next?

NSB: Some academic volumes, a spec fic novel, and the usual insomnia-fuelled poetry and short fiction… that may never see the light of day.


Extract

This is your fault, witch.
It had a voice like rusty chains.
And cracking joints.


Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2025/09/new-issue-202574.html.

Saturday, 1 March 2025

An Epic in Verse - guest post from Mary Soon Lee

An Epic in Verse

Mary Soon Lee

Once upon a time, fantastical epics were written in poetry: the Epic of Gilgamesh (about four thousand years old), the Iliad (about three thousand years old), the Mahabharata (about two thousand years old), Beowulf (a mere thousand years old). Nowadays, however, we expect our epic fantasy in prose, often as a series of hefty volumes. But in 2013, I started writing a group of poems that grew into my own epic fantasy, The Sign of the Dragon, which tells the story of King Xau, chosen by a dragon to be king.

Why did I do this? It was almost an accident. I meant the opening poem to be a standalone piece. Except I was drawn to the boy in that poem. So I wrote another poem about him, and another, and another, until, three years later, I had over three hundred poems that together made up Xau's story.

I said that it was almost an accident, but writing the tale in individual poems suited me well. My youngest child was eight years old when I began. I wanted a writing project that would fit neatly into school days. Happily, I could usually complete a poem before it was time to pick up my children. Often I could get the laundry done as well. So writing my epic in verse was a major advantage for me. As for how it affected the tale itself…

Firstly, I should be clear that The Sign of the Dragon is not like the epics I mentioned earlier. It is mostly written in free verse, without rhyme or meter. And I think there's very little chance people will be studying it thousands of years from now!

Breaking the long story into poem-sized pieces gave me flexibility. I could switch from one character's perspective to another. I could zoom in on a particular battle, or a moment in that battle, or show that same moment from multiple perspectives. I could zoom out to an overview, or skip past months between one poem and the next. I could switch styles. (Yes, there are even some rhymed poems and haiku nestled in the book.)

Here, for instance, is a short poem about how news of an enemy invasion arrives, before the next poem switches to King Xau's thoughts as he rides off to war. This is the only time in the book that either Pigeon Six or the pigeon girl are mentioned.


Pigeon Six

(first published in Uppagus)

Pigeon Six: no rank,
no name beyond her number,
but she the soldier sent
with news of the invasion.

Pigeon Six: no honors,
her message all that mattered
to any but the pigeon-girl
who cleaned her empty perch.


A conventional novel can also present dozens of different perspectives or switch styles, but I think it takes more skill on the writer's part, as well as more concentration on the reader's part. The break between poems in itself signals a change, such as a shift in mood or a jump in time.

Breaking the story into poems also made it easier to write the tale out of sequence, and so allowed me to gradually work out the story's shape. For example, soon after I began, I wrote several poems about a demon, then later I went back and inserted a whole war before the demon ever appears.

One poetic device that I deliberately used was the epithet, following in the footsteps of Homer's wine-dark sea and swift-footed Achilles. So King Xau is sometimes called Horse Boy, and his first enemy is "red-haired, red-handed in war." I'm fond of repetition, plus it lets readers track characters without having to memorize every name. Some of the epithets are straightforward—"captain of Xau's guards" or "the young king"—yet can still be helpful. In hindsight, I wish I'd used epithets more extensively.

I loved being able to switch point of view! Unsurprisingly, we see Xau's perspective. And we also see from the perspective of his enemies, his bodyguards, his sister, his wife, his chief advisor, soldiers, a stable boy, a minstrel, a cleaning woman, a dragon, a monster, a cat. That was a great delight to me.

I think the switches in point of view had one other effect. They let me write about a character who was, or so my family warned me, too perfect. Xau spends most of the story doing what he believes is the right thing, no matter the personal cost to himself. This is exactly, precisely how I wanted Xau to be. Yet staying inside Xau's head all the time would make the story rather one-note. Shifting to his enemies, or seeing him from the point-of-view of one of his companions, hopefully adds flavor. I say "hopefully" because sometimes there's a gap between intentions and the end result. Of all the things I've written, The Sign of the Dragon is the one that means the most to me. But that doesn't guarantee readers will love it.

An ebook edition of The Sign of the Dragon appeared early in the pandemic, but it was only in 2025 that the first print edition was published. It's a chunky book, nearly six hundred pages, and contains forty wonderful illustrations by Gary McCluskey, two of which are shown here.

I will close with two short extracts showing very different points of view. First, one of Xau's enemies, and then the royal cat.


(From Vengeance, first published in Star*Line)

They think her nothing, think her beaten,
think the dungeon holds her in.

But hers the will which woke the dead,
hers the wrath, the wolves' wild tread.

They think that's her: defeated, lamed,
thrown to the floor, tethered, tamed;

think her trapped, her limbs bound tight,
think the blindfold stops her sight.


Permissible that the king pauses,
pushes away paper and brush,
bends down to stroke
behind her ears.

Later, she will inspect his desk.
Items may need to be rearranged.


Mary Soon Lee’s The Sign of the Dragon has a book page with blurb, reviews and more samples, and can be ordered from Amazon or other good bookstores.

Mary Soon Lee is also the author of three poems, “Alien Armada”, “Not for Sale, Used Asteroid, One Owner” and “What Heroines Read” in past issues of The Future Fire.

Thursday, 19 December 2024

Microinterview with Rachel Rodman

We welcome Rachel Rodman, author of the poem “Two Hybrids” in The Future Fire #71, for a brief chat in the microinterview series.


Art © 2024 Fluffgar

TFF: What does “Two Hybrids” mean to you?

Rachel Rodman: I love hybridization.

The most exciting kind of creativity combines elements that are infrequently combined. I also love the stylistic challenge of merging objects and identities from different sources: Froggie’s sword + the runcible spoon; a winged creature + a half-amphibian who hunts dragonflies, pooling their talents to survive a long journey through the sky. (Many more examples can be found in my recent book, Mutants and Hybrids, which was published by Underland Press.)

“Two Hybrids” is also exciting to me because it feels like a breakthrough. It is one of several projects that began as a short story. For a very long time, I worked and reworked these pieces, getting nowhere. Eventually, however, it occurred to me to convert these failed stories to poems.

After that, things went quickly.

TFF: What are you working on now?

RR: More poetry. More short fiction.

I am also working on a long-form, “quantum fiction” project. In quantum fiction, events are both happening and not happening. When one outcome occurs, so does its opposite. (An early example of quantum fiction is a story called “Schrödinger's Fever,” which was published in Why Vandalism?) Quantum fiction is non-linear. It is internally contradictory. Within this genre, the usual stylistic divisions don’t make sense.

Poetry? Prose?

When my writing feels most authentic, these categories stop mattering.


Extract:

When her parents die,
she converts
the pea-green boat
to
a pair of prosthetics—
wooden extensions of her own wings
(which are only half sized).

Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/10/new-issue-202471.html.

Thursday, 15 August 2024

Micro-interview with Mary Soon Lee

We welcome old friend Mary Soon Lee, author of the poem “What Heroines Read” in The Future Fire #70, for a quick chat about poems, animals and fantasy.


Art © 2024 Dr T. Eratopo
TFF: What does “What Heroines Read” mean to you?

Mary Soon Lee: I primarily hoped the poem would entertain readers. It's part of a series of poems with similar titles ("What Trolls Read," "What Aliens Read," "What Cacti Read," etc.), and the series as a whole draws on my lifelong addiction to reading. This particular entry in the series has also been infiltrated by my feminism.    

TFF: Into which animal would you like to be able to morph?

MSL: A dragon. Or, for real-world animals, then a cat, either a small house-cat or a snow leopard. I am very partial to guanacos, alpacas, llamas, but I'd prefer to be a cat.

TFF: What are you working on next?

MSL: I'm writing standalone poems, plus poems that add onto slowly-growing poem sequences, including the series mentioned above with "What Heroines Read." I have completed another poetry collection, though it isn't in submission yet (nearly!) And an illustrated print edition of my epic fantasy The Sign of the Dragon is inching closer to publication: the wonderful Gary McCluskey recently completed the forty interior illustrations.


Extract:

The selfsame canon that any hero does—
From Airavata to Zeus: A Pantheon,
The Point of Swordsmanship,
The Care and Feeding of Sidekicks.


Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/07/new-issue-202470.html.

Monday, 27 May 2024

Micro-interview with Mahaila Smith

And this week we’re joined by Mahaila Smith, author of the poem “Manipulating the Light” in The Future Fire #69, to talk about solarpunk, climate crisis and future work.


Art © 2024, Fluffgar

TFF: What does “Manipulating the Light” mean to you?

Mahaila Smith: I wrote “Manipulating the Light” after reading The Ministry for the Future by Kim Stanley Robinson. This book made me think about the specific impacts of the climate crisis in India and the technology being adopted in response. I find it important to read and write solarpunk in settings where the climate crisis is experienced most severely. The poem centres around a sapphic relationship which, as a queer person, was significant for me to include.

TFF: What are you working on next?

MS: My novelette in verse, Seed Beetle is forthcoming with Stelliform Press in 2025. This story explores themes of eco-dystopia, feminism, social organizing and the relationship between marine life and outer space. It is set in a Southern Ontario community that has experienced widespread desertification and loss of land to industrialization. The community looks to a robotics corporation to heal the land through its megafaunal automated beetles, however community members are harmed by exploitative labour practices and non-consensual brain implants.


Extract:

The open skylights lance
drops of sunlight that slip
through prisms and bounce
off mirrors, leaving a spill
of colour and light
at the altar of the temple.

Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/04/new-issue-202469.html.

Wednesday, 8 May 2024

Micro-interview with Lae Astra

We welcome Lae Astra, author of the poem “Sunrise over Neo-Tokyo” in The Future Fire #69, to join us for a brief chat about their work and the future.


Art © 2024 Katharine A. Viola
TFF: What does “Sunrise over Neo-Tokyo” mean to you?

Lae Astra: Being able to imagine a better future is such a necessary and beautiful thing. I wanted to tell the story of one possible future that bloomed vividly in my mind while writing, one where we coexist peacefully with the fellow beings who share our planet.

TFF: What are you working on next?

LA: I am currently on a break from writing, but I hope to dream up more stories and pieces of art that connect to hopeful futures.



Extract:

At the observation deck of Skytree 22,
we sit waiting for hatsuhinode,
the first sunrise of the new year.

Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/04/new-issue-202469.html.

Monday, 29 April 2024

Micro-interview with Amanda Cook

We’re delighted that Amanda Cook, author of “Guidelines for Living Your Fairy Tale (in no Particular Order)” in The Future Fire #69, is joining us for a quick chat.


Art © 2024 Joel Bisaillon
TFF: What does “Guidelines for Living Your Fairy Tale (in no Particular Order)” mean to you?

Amanda Cook: When I wrote “Guidelines…”, I already had a trunked story about Red Riding Hood getting tired of how her fairy tale was being read and literally carving her own path into a new story. She goes on to help all the other female fairy tale characters find their way to a happier existence on their own terms. This poem is sort of an extension of that story and also a reminder to myself that I don't have to wait on anyone else to forge my path in the world, but it's also okay to ask for help when I need it.

TFF: What was your favourite fairy tale when you were a child?

AC: I loved all the fairy tales I read as a child, but I was particularly drawn to Alice in Wonderland in book form. There was something about the absurdity of Wonderland that I loved, and again, Alice was a protagonist who eventually made her way home by thinking for herself (and with a little help here and there). I also loved Disney's Belle in Beauty and the Beast, because I was and still am that quirky, daydreaming, book-reading girl who loves libraries.

TFF: What is the most important thing to remember about writing?

AC: I've come to learn over the years that I should write for myself, first and foremost. If I find I really connect with a piece I've written, whether it's poetry or prose, I tend to think (or, at the very least, hope) there is someone else in the world who will connect with it too.

TFF: What are you working on next?

AC: I'm in between projects and trying to write more poetry. I may end up creating a chapbook of some of my favorites later this year. I also have another poem that's supposed to be published by the end of 2024 that I can't wait to see in the world!


Extract:

If you happen to find yourself
Locked in a tower, read away
Those quiet days and enjoy
The gift of alone time

Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/04/new-issue-202469.html.

Monday, 26 February 2024

Micro-interview with Petra Kuppers

We’re delighted to have Petra Kuppers, author of the poem “Bone Planet” in The Future Fire #68, join us for a short chat.


Art © 2024 Toeken

TFF: What does “Bone Planet” mean to you?

Petra Kuppers: “Bone Planet” is a poem about pain, and about my ongoing long-term speculative engagement with my deteriorating joints as a world of experience. As a somatic practitioner and dance artist, I often travel into my own body’s fields, and then through its sensations and imagery out into the wider cosmic world. So this sonnet is part of a crown (i.e. seven linked sonnets) that all travel around a planet of my inflamed interior.

TFF: If you moved to another planet, what animal from Earth would you bring with you?

PK: As I do travel so often, all the time, to other planets, I take with me what lives in me: mitochondria and other organelles, bacteria, all the tiny creatures that surround the particular energy of my own conscious life.

TFF: Would you like to live forever?

PK: In terms of material and energetics, I might anyway: stardust, transformed, vibrations, shimmerings… in terms of unified consciousness, probably not.

TFF: What are you working on next?

PK: I have just released a poetry collection that brings together true crime, decaying bodies, horror tropes and ecopoetry, full of nematodes, springtails and worms and the aliveness of soil (Diver Beneath the Street, Wayne State University Press, 2024). Now I am working on the material this poem is part of, a kind of Starship Poetics, a science fiction pain/joy universe.


Extract:

In the grey-green shelter of living bone, you grow ragged,
edges blood-less, crusted. Leucocytes eat this brown lump

Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/01/new-issue-202468.htm.

Thursday, 21 December 2023

Micro-interview with Elena S. Kotsile

We invited Elena S. Kotsile, author of “How to plant an olive tree on the Moon when all is lost” in The Future Fire #67, over for a brief chat about trees, planets and poetry.


Art © 2023 Fluffgar

TFF: What does “How to plant an olive tree on the Moon when all is lost” mean to you?

Elena S. Kotsile: “How to plant an olive tree on the Moon when all is lost” is a poem that first came to me as an image. Olive tree, Olea europaea, is my favorite tree species and always somehow finds its way into my writing. I love how the silver-green leaves shine under the Mediterranean sun, reflecting the summer light like sardines on a sea’s surface. It breaks my heart to think about the decline of olive trees due to climate change.

TFF: If you could create a new planet, what would it look like?

ESK: Earth is perfect exactly because it emerged from organized chaos and randomness. If I could create a new planet, it would be the same blue planet as Earth, with islands instead of continents and several moons that would be bigger and closer to Earth than our moon. Imagine lying on a beach, the cold ocean cooling your feet, and a cloudless sky with two or three colorful moons hanging above your head.

TFF: What are you working on next?

ESK: I’m currently querying for my first speculative novel (dark urban fantasy) and working on a second novel and some short stories. Whatever I do, though, I always keep going with my poetry, either SFF or autobiographical.


Extract:

Bring soil from Earth, regardless how spoiled—
Lunar soil might not be polluted,
but it is full of silicon.
Do not use fertilizer.

Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2023/10/new-issue-202367.html.

Thursday, 14 December 2023

Micro-interview with Beth Cato

We welcome Beth Cato, author of the poem “How magic will help you take the bastards down” in The Future Fire #67 for a short conversation.


Art © 2023 Melkorka
TFF: What does “How magic will help you take the bastards down” mean to you?

Beth Cato: For me, it's a poem about anger and wit. Even if magic were to exist, its use is not an end-all. There will still be injustice. You fight back however you can.

TFF: What is your favourite example of hopeful or fun speculative fiction (in any medium)?

BC: I love Becky Chambers' works, both her Wayfarers series and her Monk and Robot books. They are not for everyone, as they are not big on action or plot, but she has a graceful way of depicting humanity even in beings that are not human.

TFF: What are you working on next?

BC: I'm gearing up for the January release of my next book, A Feast for Starving Stone. It finishes up my duology that began with A Thousand Recipes for Revenge. These books are packed with magical food and swashbuckling action. I don't recommend that people read them while they are hungry.


Extract:
start the hot water kettle
with a glare fueled
by the infuriating recollection
of how your boss said
‘oh don’t worry, we’ll investigate’

Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2023/10/new-issue-202367.html.

Friday, 29 September 2023

Micro-interview with Colleen Anderson

This week we welcome to the press page Colleen Anderson, author of the poem “The Fungal Force: A History” in The Future Fire #66.


Art © 2023 Melkorka
TFF: What does “The Fungal Force: A History” mean to you?

Colleen Anderson: We’ve learned so much about the mycelial network that links trees and root systems, an alien not-animal lifeform that is part of our world. And of course, there is the destructive controlling fungus that uses insects like zombies to meet its needs. My fiction story, “Sins of the Father” (in On Spec #105) explores that aspect. I work in Vancouver’s DTES (Downtown East Side) and see people being destroyed and physically altered by drugs every day. There is much dehumanization that starts with traumatic abuse in childhood and continues with othering in adulthood. We may see one city or country being particularly abusive of people, but in the end, we are all susceptible to our base natures if we choose to see groups of people as not human or less than.

TFF: You use the names of different mushrooms in a very evocative way. Were these scientific names part of your inspiration for this poem?

CA: No. I chose the names that work in rhythm and potency to the content of the poem.

TFF: What are you working on next?

CA: I’m writing a book of poems on Rapunzel. As is shown, most fairy tales have dark cores. I look at how a hostage in a tower grows and changes, and what happens after the not so happily ever after. Of the fairy tales, Rapunzel may not have died like Snow White but goes through extreme trials and tribulations, giving birth to twins when exiled to the desert.


Extract:

It began with the men in blue
plus a few other people in government succumbed
when each breath they drew labored with hate


Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2023/07/new-issue-202366.html.

Tuesday, 29 August 2023

Micro-interview with Devin Miller

We welcome Devin Miller, author of “Smells of Brine, Witching” in The Future Fire #66, for a mini-interview.


TFF: What does “Smells of Brine, Witching” mean to you?

Devin Miller: We tend to think of things that change and decay as sad, wasted things. What forests teach us is that decaying things are food, homes, an essential part of creation and regeneration. What beaches teach us is that when water wears a stone down, it does get smaller but it also gets smooth and beautiful. This is one of my favorite metaphors for writing: unwritten ideas and unfinished stories aren't wasted, they're just compost for future writing. And compost is a form of transformation, and therefore magical.

TFF: Is it the double nature of fungi that makes them such a suitable witchcraft ingredient, in your opinion?

DM: I think they're a suitable witchcraft ingredient because they are themselves witches. Saprobic fungi feed on dead organic matter, break it down and transform it, which is pretty much what a witch does stirring her cauldron.

TFF: What are you working on next?

DM: I've got lots of short fiction to revise; I've particularly been meaning to get to the one about a road trip with a sea-wife.


Extract

Quiet have I lived at the border between
woods and sea. Here where shorebirds scurry, forage,
where wrens, juncoes make busy life in tree homes,
here have I breathed salt.

Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2023/07/new-issue-202366.html.

Monday, 26 October 2020

Trending: Tiny Tales

Trending: Tiny Tales

Guest post by Fiona Jones

Micro-literature is a big trend right now. Something to do with the glimpsiness of screen-scrolling and the needle-sharp joy of haiku, mixed in a shot glass and taken at a gulp.

I’m not dissing full-length novels. They’ll always be in, forever, because a good novel is like a holiday abroad: immersive, luxurious, refreshing. But, by destiny or gnatlike attention span, I’m a micro writer. Most of what I’ve written is under 500 words. I’ve got micro-fiction and micro-CNF scattered halfway round the Internet, plus now and then on paper. And I’m touting these anthologies because some of my work’s inside:

Where to send your own finely-cut gemstones? I started with Friday Flash Fiction (they publish shedloads of drabbles a week, plus occasional longer flashes). From there I went on to The Drabble, Dribble Drabble, 50-Word Stories, 101 Words, Montana Mouthful, Tiger Moth Review and actually anywhere that doesn’t stipulate a minimum wordcount. The number of publishers asking for micros seems to grow every year. Most venues don’t pay for micro-stories, but Longleaf Review did, Mothers Always Write and All Guts No Glory did too, and Folded Word used to.

It’s hard to choose a favourite among my own micro-pieces—either the stories or the essays. I think the one that’s travelled the farthest is my speculative fiction about the inventor of the wheel, who watches his invention progressing down through the centuries. This story appeared first on 50-Word Fiction, then a second website, and finally someone requested to republish it in Arabic.

Or maybe it’s not finally. Maybe it’s still got places to go, people to meet. The best thing about stories is that sometimes they just keep going.


Fiona M. Jones’s poem Oak Tree can be found in TFF #55.

Tuesday, 3 September 2019

TFF #50 author and artist microinterviews

As you may know, after each issue of TFF we like to post a series of micro-interviews with the authors and artists—just a couple of questions each, and short answers of 2–3 sentences. Because not all of you use or follow FB where these go up in the first instance, I’ll collect here links to a few of the posts as they go past. I'll try to keep it updated. It’s always fun to read what people have to say about their own work, and what else they’re up to in the meantime.
If you have any questions for any of these artists, poets or authors, or would like to say anything nice about their work, please feel free to leave a comment below this post, and we’ll make sure it gets seen.

Friday, 30 August 2019

Interview with Chloe N. Clark

Back in 2015 we published a lovely, dark, surreal, horror-kitsch-dystopia-escapist adventure short story titled “All Along the Mall” by Chloe N. Clark (which is well worth pausing here and going to read, by the way). Now Chloe’s second poetry collection is available from Vegetarian Alcoholic Press, and she has come to speak to us about speculative fiction and poetry, beauty, dystopia and art.

Chloe N. Clark’s Your Strange Fortune is our good fortune. This debut volume of rare sympathy and imagination leaps easily from myths to monsters, ghosts to zombies, fairy tales to the Apocalypse that, for this poet and so many today, is “just/the fact of life.” Clark’s inventive, unforgettable voice ranges widely—from up-to-the-moment poems like “Googolplex,” in which curiosity becomes dark compulsion, to the far future when museums feature the relics of our own time: “the things we could not bear/to leave behind us:/ pieces of highways, signs/ …one single spike from Lady/ Liberty’s crown.” Clark understands that time speeds forward and that myth and popular culture are close kin that offer the songs of ghosts who once were us, “the ones who/ had such beautiful voices but only when/ they thought no one was listening.” Like the poet’s “clockwork nightingale” whose song is both dystopian and beautiful, Chloe Clark’s voice rises above the usual din to bring us a debut volume that is rich with unsettling questions but always unflinchingly alive. (Blurb by Ned Balbo, author of The Cylburn, Touch-Me-Nots and 3 Nights of the Perseids.)

Chloe N. Clark is a writer, editor, and teacher. She is the author of The Science of Unvanishing Objects and Your Strange Fortune. Her work has appeared in Booth, Glass, The Future Fire, Little Fiction, Uncanny, and more. She is a founding co-editor-in-chief of online journal Cotton Xenomorph. Find her on Twitter @PintsNCupcakes or her website chloenclark.com.

TFF: Your Strange Fortune is a diverse, wide-ranging collection of poems. Did you just bring together a selection of your best poems from other places, or was it conceived as a single, coherent piece of work from the start?

Chloe N. Clark: This question sort of has multiple answers. Almost everything I write has some connection to something else I’m writing, even if I don’t sit down with that intention (my brain works in large pictures and patterns, it’s why I’m so fond of interconnected novel-in-stories). So I found that I was writing a lot of poems centering on apocalypse and disaster (large scale and personal). As I realized this, I began to picture a plot arc for the poems and then began to put them into a single cohesive overall book. Something I’m very concerned with, always, when putting together poetry collections is “how is this telling a story?” I want the poems to stand alone, but when put together also serve a larger purpose. The best poetry collections, like story collections, novels, or albums, should be able to be read as one piece and have that work on some level (whether it’s an emotional arc of an actual plot driven one).

TFF: Both Wallace and Balbo’s blurbs note that your work combines themes of horror/dystopia/apocalypse along with beautiful or hopeful tones (which I think is true of “All Along the Mall” as well). Do you think we need to see the joy and the hope in the world to cope with and indeed fight back against the dystopia galloping towards us?

CNC: Absolutely. The world is a not-great place, for so many reasons, and I think the things that help us to cope with that and to fight back against the not-great things are hope and joy. If you’re hopeless about the future, you don’t really have the drive to make it better for yourself/for the next generation/etc. I write about a lot of darker subjects and so I think I try to be very purposeful about lacing those subjects with light. I need to be able to see a way out and I think it helps to show that in writing as well. It’s one of the reasons I teach, as well, I focus on injustice and rhetorics of violence in my classes, but I’m always careful to think about solution-based approaches to these problems—to show why we keep fighting. Being hopeful and finding joy are not at odds with being realistic about the world, if anything they keep you more able to understand what’s at stake.

“All Along the Mall” illustration © 2015 by L.E. Badillo

TFF: Poetry is almost by definition non-realist, in the sense that imagery and analogy are such ubiquitous techniques; does this make it an especially powerful medium for science fiction, or is “speculative poetry” a tautology?

CNC: I think this goes both ways honestly. In my mind, all writing is in some ways speculative (even non-fiction because it often is based out of the writer seeking answers and also having to incorporate their own view/analysis of those answers and questions). I think poetry is a great venue for sci-fi though because it allows the ideas room to be ideas, rather than needing maybe the plot or explanation behind them that a story might require. So it’s a great playground for those ideas and images without binding them to something larger.

At the same time, I think all my poetry is speculative, even the realistic pieces. I’ve never been able to view the world without seeing the strange inside it. There’s so much miraculous in the everyday of life, that it sometimes seems hard not to write things in a way that comes off as speculative.

TFF: What, to you, most essentially characterizes the difference between “literary” and “genre” fiction?

CNC: This is a question that always gets me fired up, because I think it’s in many ways a question that’s already been broken. Many of the best “literary” writers today are ones who fully incorporate genre techniques into their work (Colson Whitehead, Kelly Link, Victor LaValle) and many of the best “genre” writers are ones who write work that is also very literary—in that it focuses on character and writing as much as it focuses on plot momentum. Sometimes, the distinction that I think works best is: do you want to read it for the story or for the writing? If it’s both, it’s probably good literature. If it’s one or the other but not both, it probably falls into “genre” or “literary.”

TFF: Have you ever seen a statue or a piece of art that you wished was alive?

CNC: I think I wish this of a lot of art and statues, when I really like a painting, I often wish I could climb inside it and see it from another angle. Good art is an invitation—to wonder and wander in. But, if I had to pick a single piece, I would definitely go with the works of Dr Evermor, an outsider artist from Wisconsin. I grew up going to see these pieces and now I take my nephews there. They are strange and wonderful and filled with all the magic of what I think childhood dreams feel like—giant insects made of old musical instruments, a telescope to the stars, pieces of trash and discarded junk turned into something new and strange. I don’t think the giant insects would become menaces, if alive, they feel too kind and filled with delight to do so.

TFF: Would you like to visit another planet?

CNC: I want to answer this question in all-caps, so: YES. My obsession with space and the universe began as a small child, watching Aliens for the 400th time and listening to audio plays of Ray Bradbury stories. And it was a joy and fascination with space that grew even more when I began to actually understand what space and planets and the ways we get there actually meant. Nothing delights my brain as much as reading some fact about the difficulties of space exploration and the ways in which we seek planets away from our own. I love Earth and I’m not a person who thinks colonizing other planets is the way to save the world, but what I wouldn’t give to take a step on another planet—to see some new beauty of the universe in front of me. What a wonder that must be—I don’t think there’s enough poetry in the world I could write to come close to what that must be like.

Thank you for joining us, Chloe!

Check out Chloe N. Clark's new poetry collection Your Strange Fortune from Vegetarian Alcoholic Press, also sold at all online booksellers (and some shops). Her previous poetry chapbook The Science of Unvanishing Objects is still available from Finishing Line Press.

Saturday, 29 June 2019

TFF #49 author and artist mini-interviews

As we do after the release of each issue of TFF, we’re currently running a series of very short interviews (2–3 questions, couple sentences per answer) with the authors and artists who were featured in TFF#49, our poetry themed issue. Interviews are appearing on Fakebooc every couple days, but we'll also collate the links here.
Thanks again to all poets, authors and illustrators! Please check out their work. We’ll post more interviews here as they appear.

Sunday, 21 April 2019

Call for submissions: longer fiction and poetry

Longer than usual…

Tall Tales!
For the next few weeks, TFF is looking for pieces that are slightly longer than our Guidelines normally specify, for our jubilee issue. While we’re explicitly flexible with regard to wordcount, in the past we have very seldom published stories over 10,000 words or poems over about 60 lines—partly because reading longer works on screen can be a strain. For an upcoming project (more on which later) however, we’re looking to push this boundary upwards.

Do you have a:
  • Speculative novelette (story of 7,500–17,500 words)
  • Long scifi/fantasy poem (say 100–200 lines)
that we might be interested in?

We’re more flexible than usual with this project, so those boundaries are both permeable, and we’re open to all sorts of liberties with genre, medium and form. Not sure if something qualifies? Try us!

This extended call remains open until May 31, 2019, and for this period, any novelette we purchase for this special issue will be paid the higher rate of $30 (and long poems $15) to celebrate the jubilee.

Increased length and pay rate aside, all our usual guidelines (see fiction; poetry) still apply for this month, and our usual tastes in feminist, queer, postcolonial and environmental themes and underrepresented voices will pertain. But as I said, try us—we’d rather have the chance to decide if something works for us than have you self-reject.

Wednesday, 23 January 2019

Interview with Hayley Stone (and giveaway)

We welcome to the TFF Press blog novelist and poet Hayley Stone (whose poems “Daphne’s Grove” and “Results of Your Quiz: Which Survivor of the Trojan War Are You?” appeared in TFF last year, and we will publish one more later in 2019), whose Weird West novel Make Me No Grave was released a few weeks ago. She answers a few of our questions about her writing. Make sure to stick around to the end for a chance to win one of three signed copies of the novel!

Hayley Stone is a writer, editor, and poet from California. She is best known for her adult sci-fi novel, Machinations, which was chosen as one of Amazon’s Best Sci-fi & Fantasy Books for 2016, and her cult hit, Make Me No Grave, a weird western. Her short fiction has appeared in Fireside Fiction, Apex Magazine, Flash Fiction Online, and various anthologies, while her speculative poetry is widely available online. Hayley loves to hear from readers and writers. Find her at hnstoneauthor.com and on Twitter @hayley_stone.

Make Me No Grave


Marshal Apostle Richardson faces off against bloodthirsty outlaws, flesh witches, ruthless vigilantes, and more in this gritty, magical re-imagining of the Old West.

Almena Guillory, better known as the Grizzly Queen of the West, has done plenty to warrant the noose, but US Marshal Apostle Richardson enforces the law, he doesn’t decide it. When a posse tries to lynch Almena ahead of her trial, Apostle refuses their form of expedited justice—and receives a bullet for his trouble. Almena spares him through the use of dangerous flesh magic but escapes soon after saving him.

Weeks later, Apostle fears the outlaw queen has returned to her old ways when she’s spotted terrorizing Kansas with a new gang in tow. When cornered, however, Almena makes a convincing case for her innocence and proposes a plan to take the real bandits down. Working with a known killer opens Apostle up to all sorts of trouble, not the least being his own growing attraction toward the roguish woman. Turning Almena away from vengeance may be out of the question, but if he doesn’t try, she’ll wind up right where the law wants her: at the end of a rope.

And if Apostle isn’t careful, he’ll end up joining her.

If you like Red Dead Redemption and Lila Bowen’s Wake of Vultures, you'll love this gun-blazing weird western.

Interview


TFF: It strikes me that the trope of Almena in Make Me No Grave brings together seventeenth century witch-hunts with modern lynchings, especially of minorities. Is this intersectionality deliberate in the novel, and if so what other axes does it work on?

Hayley Stone: Absolutely.

Throughout the novel, as more of Almena’s background comes to light, we see in her personal friendships and associations that she feels most comfortable among those likewise considered to be “outsiders” in society. In much of Western fiction, there is the theme of civilization (i.e. society) versus the individual (i.e. the lone gunfighter, the outlaw, etc.). Almena’s experience of not only being a woman in a nontraditional role, but one with magic specifically addresses feminist issues such as the persecution of the nonfeminine and the frequent unease surrounding female power. For as much as she is feted as the Grizzly Queen of the West and celebrated for her violence, she is also feared and mistrusted for the same.

Of course, there may be more axes than that, depending on which theory is applied to the reading, but I leave that up to my audience! It’s always fun when a reader makes a connection I myself didn’t necessarily intend.

What was your first love, poetry or prose? And how often do you move from one form to the other?

HS: Definitely prose. I only began writing poetry in earnest a couple years ago, near the end of college. However, now the two are intricately connected, at least in my own mind, frequently informing one another. I often draw on poetic technique for my prose, especially for description or to set the mood of a scene. Verbs rule in poetry, and they provide spectacular energy to prose as well. In the past, I’ve also deconstructed story ideas and turned them into poems when they refused to work as short fiction.

Some of your poems seems to draw inspiration from female characters in old mythologies, Classical as well as Nordic. What fascinates you about these ancient women?

HS: For me, it is two things. First, I feel a strong sense of solidarity with these women. When you strip away the magic and mythos, their lives are not much different from our own; they experience passion and hope, while also suffering from many of the same fears and insecurities. They are lovers, fighters, and everything in between.

Second, in many instances, theirs is the story I most relate to and actually want to read! Historically, the male perspective has been the dominant one, so for me it is interesting to look at the same event from a less obvious point-of-view.

The covers of your novels seem to emphasize the figure of the lone hero. Are strong characters (and especially female ones) doomed to be alone?

HS: There is a special irony there since I’m actually not a big proponent of the lone hero narrative! I even think there is something a little toxic about the idea of solving all your problems on your own, rather than reaching out for help.

One of the themes I explore in both of my series is how easy it is to become isolated by a sense of personal responsibility or past failure. Rhona Long (Machinations) and Almena Guillory (Make Me No Grave) are very different personalities, but both women end up strengthened by their relationships to others, not weakened by them. If anything, the covers represent their initial feelings of loneliness, not their ultimate reality.

With whom, alive or dead, would you most like to collaborate, and on what?

HS: Let’s just say that if J.R.R. Tolkien wanted to invent some languages for an epic fantasy of mine, I would not say no! Otherwise, I would love to co-write a story with Margaret Atwood or Kameron Hurley, as they are two of my favorite writers alive today.

Contest



Enter to win a signed copy of Make Me No Grave!

To enter the contest, comment below by midnight, February 6, 2019, with your own Weird West story or poem in 280 characters or less. Stories and poems must incorporate tropes of the Western genre, while also including a speculative element (i.e. fantasy, sci-fi, or horror). They need not take place in America, or even on Earth.

Up to three entries will be chosen by Hayley, and the winners will receive a signed paperback and bookmark. You may also post your stories to Twitter, Facebook, Instagram, or your blog—just remember to post the link below (and make sure we have a way of getting in touch with you)!

Tuesday, 15 September 2015

Seeking experimental microstories

Call for Stories

The TFF-X (The Future Fire—ten years) anthology will contain 15 reprinted or slightly revised stories, plus at least as many new pieces that we hope will give an idea of the sort of things we’d like to see more of in the magazine in the future. We’re enthusiastically looking forward to the next decade, as well as celebrating the last one.

If you think you can help us to exemplify different and experimental modes/kinds of social-political, diverse, progressive and speculative stories, we’d love to hear from you. Some of our ideas are listed below. We're looking for very short pieces, so 500-1000 words is about right (or equivalent, for comics/poetry). We'll pay $20 per piece, and this call will remain open until we have the 5-10 new pieces we need to fill the volume (or until the end of October at the latest, at which point we'll have to firm up the table of contents if we’re to publish the anthology before the end of 2015). If you have any other experimental ideas—try us! Email your submissions or pitch ideas to fiction@futurefire.net with a subject line beginning “TFF-X submission: (title of work) and we’ll get back to you as soon as possible.

Genre, style or conceit (many of these can be summed up as “ekphrasis”—a representation of one art form via the medium of another):
  1. Story written as a theater or radio play, or as an interview
  2. Story written as a pitch for a TV show or web series
  3. Story in the form of an online user review for a science-fictional/fantastic product (hoverboard, replicator, magic wand? You can think of something more original than this!)
  4. Design a poster or one-page advert for a made-up book or film
  5. Story in the form of a critical review of a non-existent book (no spoilers!)
  6. Story in the form of a user guide for a videogame or a module for an RPG
  7. Story told via a letter or letters (letter to a magazine advice column; letter of complaint; rejection letter for a job/story/grant; letter of condolence/congratulation; any letter that isn’t just the sender telling a story to the recipient)
Theme, content or medium (can be combined with one of the above, if you want to be hyper-efficient):
  1. Stories written largely/partly (or with dialogue) in a language or dialect other than US-English—with no apology or translation for the reader
  2. Bi/pansexual and trans/nonbinary characters (we do pretty well with queer representation otherwise)
  3. Utopian story—a world that satirizes our own by being visibly better than it in some significant way (doesn’t have to be perfect)
  4. Absurdist or nonsense piece—any combination of surrealism, dadaism, bizarro, dream-quest
  5. Horror and dark fantasy (so many possible modes)
  6. Poetry (any style; up to 40 lines)
  7. Graphic/comics story (2-4 pages)
All stories should of course be social-political, diverse, intersectional, and all the others things that TFF want to see in fiction anyway!
(If you would like to read more about what some of our editors would like to see more of in TFF in the future, the question has been addressed by Kathryn, Cécile, Valeria and Djibril in recent interviews. More suggestions welcome!)

Submission guidelines summary:

Length: approx. 500-1000 words (poems 40 lines, comics, 2-4 pages)
Email submissions as attachment to fiction@futurefire.net
Deadline: October 31, 2015, or sooner if filled
Pay: $20 (USD) per story, poem, comic, etc.