Feed aggregator

Reviewed by Chisom Umeh

Is there a better time to talk about a less-warring, more prosperous, empathetic, and humane world than the present moment, where the militaries of powerful countries have taken up arms against each other, dropping bombs on civilians and tearing down cultural heritage that took decades to build?

Sadly, living in such a moment rarely engenders the appetite for dreams and imaginings of a better future. Rather, it makes us envision periods where the worst that could happen to humanity has happened: nuclear bombs have detonated, floods have sunk major cities, or an asteroid has lodged itself in the Earth’s crust. We see the presidents of powerful countries threatening or actually invading less powerful ones and that prompts us to take up pens and weave the most authoritarian panopticons we can imagine. We watch anti-science rhetoric spread in the media about climate change and we’re tempted to paint pictures of doomed, environmentally degraded futures.

The current happenings rarely inspire utopian stories in us. Instead, they often steer us toward the catastrophic.

In Joe P. L. Davidson’s Saving Utopia: Imagining Hopeful Futures in Dystopian Times, we learn that this way of thinking hasn’t always been the case. There has never been a time when there wasn’t some form of global turmoil. However, many writers of the late 19th and early 20th centuries  were inclined to look beyond the specific troubles that plagued their era and envisioned possible futures where the problems had been solved. This period saw a blossoming of utopian fiction, coloring the literature of the time with visions of better and hopeful lives. Edward Bellamy’s Looking Backward (1888), William Morris’s News from Nowhere (1890), Sakhawat Hossein’s Sultana’s Dream (1905), Buchi Emecheta’s The Rape of Shavi (1983), and many more, are amongst the books Davidson touches on, in showing how writers of the past treated the situations around them.

Davidson shows us in this book that, even amidst the current horrors and seeming pessimism about the future, utopian stories can still be told and told well. He helps us see that, amidst the seeming dearth of utopian fiction, some writers are still standing up for the genre and putting in the work.

I particularly loved how the modern texts like Claire G Colman’s Enclave (2022), River Solomon’s The Deep (2019), Kim Stanley Robinson’s The Ministry for the Future (2020), were juxtaposed with older books like Ursula K. Leguin’s The Dispossessed (1974), Edward Bellamy’s Looking Backward (1888), and William Morris’ News From Nowhere (1890). This juxtaposition helps readers understand how utopian thinkers of the past viewed the concept, how they related it to their particular society and preoccupations, and how recent writers have engaged with the subject, noting the differences between both modes of approach.

While the older writers wrote utopian futures only as they could envision them, fashioning worlds imbued with whatever politics they liked, more recent authors take a different approach when crafting utopian stories. In Kathleen Hughes’ PhD thesis, Imagining the Future of Work (2024), she mentions that in William Morris’s News from Nowhere, “The past and the present, just as much as the future, are presented by Morris as temporary and transient.” But the more contemporary writers, according to Davidson, employ a method that he has come to call “postdystopian utopia.” This is a mode of writing utopias that doesn’t overlook the horrors of the present or the past, to weave into existence future worlds of abundance and peace. It acknowledges existing injustices and, rather than dismissing them in favor of an imaginary time, incorporates them into the story and uses them to make a point:

“What I call postdystopian utopia,” Davidson writes, “is a precarious balance between liberation and horror, in which the possibility of better worlds becomes apparent only by acknowledging worse worlds. The postdystopian utopia addresses the bad feelings that prevail in contemporary culture.”

The concept of postdystopian utopia is Davidson’s idea of how the genre of utopian fiction can be jump-started and reintroduced into global discourse meaningfully, as exemplified by recent books like Claire G. Coleman’s Enclave (2022), Rivers Solomon’s The Deep (2019), and Claire North’s Notes From A Burning Age (2021). It is not hungry to leap to a time when every problem of the day has been magically resolved. Rather, it approaches genre with the hope of “confronting and overcoming the skepticisms about the possibility of alternative worlds.”

A close reading of Claire G. Coleman’s Enclave (2022) in the book shows us exactly what a postdystopian utopia may look like in writing. Christine, the protagonist in the novel, is exiled from a community called Safetown where she has lived all her life and has been made to believe is the only safe place left in the world. True to her conviction, the outside world is indeed a hellscape. But, by chance, she gets a ticket to a train that takes her to a part of the country that has become a utopia in all practical sense. She is shocked beyond belief that such a place exists and yet she had lived in Safetown all the while with its segregation, discrimination, and 24-hour surveillance. Davidson uses this story to show us what a postdystopian utopian narrative is like, and how this category is distinct from both classic utopias or dystopias. In the novel, dystopian worlds are touched upon within the pages of utopia. Dystopian societies aren’t done away with, but are made to exist side by side with the utopian ones, though the latter is the more dominant force, persisting amidst other negative societies.

In Rivers Solomon’s The Deep, Davidson shows the same genre convention in how a seemingly utopian underwater society exists even though the world above is anything but perfect. “They are undisturbed by the outside world; their watery society is protected from the forces of white supremacy on the land. In fact, such is the happiness of the wajinru that they can almost forget the Middle Passage.”

Davidson succeeds at drawing parallels between the past and alternate futures, connecting one with the other through discussing nostalgia, apocalypse, and trauma. With a scholarly lens and strong research, the book, through the concept of postdystopian utopia, advocates for a  way of approaching utopian fiction that could once again breathe life into the genre and, perhaps, give it its day in the sun once again. He shines a light on texts that have used this method in different ways, and shows that it is quite effective in our present time. 

At the end of this book, I came away somewhat hopeful for new forms of utopian fiction. Before now, I had rarely encountered it in recent books amidst (relative to utopian fiction) the large numbers of dystopian works in the markets like Suzanne Collins’ Hunger Games (2008) and its many spawns, Cherie Dimaline’s The Marrow Thieves (2017), Matt Bell’s Appleseed (2021), and many more. I simply thought it was something people just didn’t engage with anymore. But Davidson’s clear-eyed writing in Saving Utopia has shown me that sometimes, we only need to change our sitting positions to see what has always been there in a new light.

Chisom Umeh is a Nigerian fiction writer and poet. His short stories have been featured in Omenana, Apex, Clarkesworld, Year’s Best African Speculative Fiction 2023, African Ghosts anthology, Isele, Mythaxis, Scifi Shorts, and elsewhere. His short story, “Ancestor’s Gift”, won the 2024 Tractor Beam short story contest. He was a finalist for the Seattle Worldcon Short Story Contest and is the winner of the 2025 Nommo Award for Best African Speculative Fiction Short Story.

Reviewed by Chisom Umeh

Is there a better time to talk about a less-warring, more prosperous, empathetic, and humane world than the present moment, where the militaries of powerful countries have taken up arms against each other, dropping bombs on civilians and tearing down cultural heritage that took decades to build?

Sadly, living in such a moment rarely engenders the appetite for dreams and imaginings of a better future. Rather, it makes us envision periods where the worst that could happen to humanity has happened: nuclear bombs have detonated, floods have sunk major cities, or an asteroid has lodged itself in the Earth’s crust. We see the presidents of powerful countries threatening or actually invading less powerful ones and that prompts us to take up pens and weave the most authoritarian panopticons we can imagine. We watch anti-science rhetoric spread in the media about climate change and we’re tempted to paint pictures of doomed, environmentally degraded futures.

The current happenings rarely inspire utopian stories in us. Instead, they often steer us toward the catastrophic.

In Joe P. L. Davidson’s Saving Utopia: Imagining Hopeful Futures in Dystopian Times, we learn that this way of thinking hasn’t always been the case. There has never been a time when there wasn’t some form of global turmoil. However, many writers of the late 19th and early 20th centuries  were inclined to look beyond the specific troubles that plagued their era and envisioned possible futures where the problems had been solved. This period saw a blossoming of utopian fiction, coloring the literature of the time with visions of better and hopeful lives. Edward Bellamy’s Looking Backward (1888), William Morris’s News from Nowhere (1890), Sakhawat Hossein’s Sultana’s Dream (1905), Buchi Emecheta’s The Rape of Shavi (1983), and many more, are amongst the books Davidson touches on, in showing how writers of the past treated the situations around them.

Davidson shows us in this book that, even amidst the current horrors and seeming pessimism about the future, utopian stories can still be told and told well. He helps us see that, amidst the seeming dearth of utopian fiction, some writers are still standing up for the genre and putting in the work.

I particularly loved how the modern texts like Claire G Colman’s Enclave (2022), River Solomon’s The Deep (2019), Kim Stanley Robinson’s The Ministry for the Future (2020), were juxtaposed with older books like Ursula K. Leguin’s The Dispossessed (1974), Edward Bellamy’s Looking Backward (1888), and William Morris’ News From Nowhere (1890). This juxtaposition helps readers understand how utopian thinkers of the past viewed the concept, how they related it to their particular society and preoccupations, and how recent writers have engaged with the subject, noting the differences between both modes of approach.

While the older writers wrote utopian futures only as they could envision them, fashioning worlds imbued with whatever politics they liked, more recent authors take a different approach when crafting utopian stories. In Kathleen Hughes’ PhD thesis, Imagining the Future of Work (2024), she mentions that in William Morris’s News from Nowhere, “The past and the present, just as much as the future, are presented by Morris as temporary and transient.” But the more contemporary writers, according to Davidson, employ a method that he has come to call “postdystopian utopia.” This is a mode of writing utopias that doesn’t overlook the horrors of the present or the past, to weave into existence future worlds of abundance and peace. It acknowledges existing injustices and, rather than dismissing them in favor of an imaginary time, incorporates them into the story and uses them to make a point:

“What I call postdystopian utopia,” Davidson writes, “is a precarious balance between liberation and horror, in which the possibility of better worlds becomes apparent only by acknowledging worse worlds. The postdystopian utopia addresses the bad feelings that prevail in contemporary culture.”

The concept of postdystopian utopia is Davidson’s idea of how the genre of utopian fiction can be jump-started and reintroduced into global discourse meaningfully, as exemplified by recent books like Claire G. Coleman’s Enclave (2022), Rivers Solomon’s The Deep (2019), and Claire North’s Notes From A Burning Age (2021). It is not hungry to leap to a time when every problem of the day has been magically resolved. Rather, it approaches genre with the hope of “confronting and overcoming the skepticisms about the possibility of alternative worlds.”

A close reading of Claire G. Coleman’s Enclave (2022) in the book shows us exactly what a postdystopian utopia may look like in writing. Christine, the protagonist in the novel, is exiled from a community called Safetown where she has lived all her life and has been made to believe is the only safe place left in the world. True to her conviction, the outside world is indeed a hellscape. But, by chance, she gets a ticket to a train that takes her to a part of the country that has become a utopia in all practical sense. She is shocked beyond belief that such a place exists and yet she had lived in Safetown all the while with its segregation, discrimination, and 24-hour surveillance. Davidson uses this story to show us what a postdystopian utopian narrative is like, and how this category is distinct from both classic utopias or dystopias. In the novel, dystopian worlds are touched upon within the pages of utopia. Dystopian societies aren’t done away with, but are made to exist side by side with the utopian ones, though the latter is the more dominant force, persisting amidst other negative societies.

In Rivers Solomon’s The Deep, Davidson shows the same genre convention in how a seemingly utopian underwater society exists even though the world above is anything but perfect. “They are undisturbed by the outside world; their watery society is protected from the forces of white supremacy on the land. In fact, such is the happiness of the wajinru that they can almost forget the Middle Passage.”

Davidson succeeds at drawing parallels between the past and alternate futures, connecting one with the other through discussing nostalgia, apocalypse, and trauma. With a scholarly lens and strong research, the book, through the concept of postdystopian utopia, advocates for a  way of approaching utopian fiction that could once again breathe life into the genre and, perhaps, give it its day in the sun once again. He shines a light on texts that have used this method in different ways, and shows that it is quite effective in our present time. 

At the end of this book, I came away somewhat hopeful for new forms of utopian fiction. Before now, I had rarely encountered it in recent books amidst (relative to utopian fiction) the large numbers of dystopian works in the markets like Suzanne Collins’ Hunger Games (2008) and its many spawns, Cherie Dimaline’s The Marrow Thieves (2017), Matt Bell’s Appleseed (2021), and many more. I simply thought it was something people just didn’t engage with anymore. But Davidson’s clear-eyed writing in Saving Utopia has shown me that sometimes, we only need to change our sitting positions to see what has always been there in a new light.

Chisom Umeh is a Nigerian fiction writer and poet. His short stories have been featured in Omenana, Apex, Clarkesworld, Year’s Best African Speculative Fiction 2023, African Ghosts anthology, Isele, Mythaxis, Scifi Shorts, and elsewhere. His short story, “Ancestor’s Gift”, won the 2024 Tractor Beam short story contest. He was a finalist for the Seattle Worldcon Short Story Contest and is the winner of the 2025 Nommo Award for Best African Speculative Fiction Short Story.

MILESTONES

JON COURTENAY GRIMWOOD is now represented by John Jarrold Literary Agency.

LYNNE M. THOMAS and MICHAEL DAMIAN THOMAS were amicably divorced on April 2. Uncanny Magazine is now entirely under the ownership of Michael Damian Thomas per the divorce settlement.

 

BOOKS SOLD

S.A. CHAKRABORTY sold an untitled novel and another book to David Pomerico at Harper Voyager US for seven figures via Hannah Bowman of Liza Dawson Associates. …Read More

The post People & Publishing Roundup, May 2026 appeared first on Locus.

Speculative poet and critic Donald Sidney-Fryer, 91, died May 2, 2026 in Chatham MA. He was in palliative care for bone cancer.

Sidney-Fryer was born September 8, 1934. He published well over 100 works of speculative poetry, starting as early as 1968 with Connaissance Fatale and publishing in periodicals including Macabre, Spectral Realms, Weird Tales, and Witchcraft & Sorcery; anthologies including Off the Coastal Path (2010); and collections including The …Read More

The post Donald Sidney-Fryer (1934–2026) appeared first on Locus.

Winners of the 2026 Steve Miller Baltimore Science Fiction Society (BSFS) Annual Poetry Contest have been announced.

• 1st Place: Terracotta Warrior , Y.M. Pang
• 2nd Place: Starlight Bathing , Vivian McInerny
• 3rd Place: The Planet that Learned our Fear , Ayesha Mansoor
• Youth Award: Faster Than Light , Madame Reeds-A-Lot
• Honorable Mention: The Witch of Dark Matter , Kristin5689
• Honorable Mention: The River Remembers , Hashim Quraishi

The …Read More

The post 2026 BSFS Poetry Contest Winners appeared first on Locus.

The winners have been announced for the 2026 Kurd Laßwitz Preis. The prize is awarded to German-language SF works published in the previous year.

BestGerman SFNovel

• WINNER: Lyneham, Nils Westerboer (Klett-Cotta)

• We Burn the Sun, Anika Beer (Piper)
• The Deniables: Gestohlene Vergangeheit, Stefan Cernohuby (Leseratten)
• Skyrmionen oder: A Fucking Army, Dietmar Dath (Matthes & Seitz)
• Der Himmel wird zur See, Sven Haupt (Eridanus)
• Ein Übermaß von Welt, …Read More

  The post 2026 Kurd Laßwitz Preis Winners appeared first on Locus.

The Bookseller has announced the winners of the 2026 British Book Awards, including the Book of the Year Winners. Winning titles and authors of genre interest, and other finalists of interest in those categories, include:

Author of the Year

• WINNER: A.F. Steadman

• Elif Shafak

Fiction

• WINNER: Boleyn Traitor, Philippa Gregory (HarperFiction)

• Dream Count, Chimamanda Ngozi Adichie (4th Estate)
• The Rose Field: The Book …Read More

  The post 2026 British Book Awards Book of the Year Winners appeared first on Locus.

by Corrine Kumar

Read by Liz J. Bradley

Until this summer, I thought I had my writing process down to a science—my perfect desk setup, music playlist, iced coffee, phone away and on Do Not Disturb. However, when I sat down to work on a novel I’d taken a break from, I found myself stuck, hit by writer’s block. When none of my usual tools and strategies worked, I decided to ditch my perfectly curated setup and try something new. I hopped on my treadmill and started dictating my novel into my phone instead. And, remarkably, this was just what I needed. At the time, I thought of this as a last-ditch strategy to overcome writer’s block. Now, however, writing while walking has become a core part of my writing practice and has had a tremendous impact on my writing craft and process.

Increased Creativity

When I’m in the brainstorming phase of a project, I get my best ideas while walking. If I get stuck on a scene, chapter, or section of my manuscript, everything always seems clearer when I get back to my desk after a run. While I’ve observed this anecdotally, a 2014 Stanford University study published in the Journal of Experimental Psychology: Learning, Memory, and Cognition has shown similar findings in the lab. In their study, “Give Your Ideas Some Legs: The Positive Effect of Walking on Creative Thinking,” researchers Opezzo and Schwartz found that participants who walked on treadmills, walked outdoors, or were pushed in wheelchairs scored higher on Guilford’s Alternate Uses Test (which assesses creative and divergent thinking) afterwards. These results—though not found in relation to writing specifically—suggest that writing while walking might help us come up with creative solutions to narrative problems and figure out what comes next.

Increased Immersion

While I initially thought adding the extra component of walking to my process would break my immersion in the story, I have found the opposite. Walking actually helps me visualize my settings, improve my dialogue, and get into my characters’ heads. Since I’m not staring at the words on my screen, I can better picture the settings my characters are in and see them in my mind with greater detail. Because I’m saying my characters’ thoughts and dialogue out loud, I get a better feel for their personalities, word choice, sentence structure, and emotions.

Turning Off Your Internal Editor

The “internal editor” is something that plagues many of us throughout our writing careers. It keeps us staring at the blank page, deleting sentences as we write them, and tweaking the same paragraph for an hour. However, when I’m dictating and walking on my treadmill, I find this voice is strangely quiet. This is, in part, because I don’t look at the words while I’m dictating, and thus, my internal editor can’t analyze and pick my sentences apart. The combination of walking, generating ideas, and dictating keeps my brain occupied enough that it can’t find a way to edit as I go.

Increasing Physical Activity

Physical activity has so many benefits for our physical and mental health. Numerous studies have shown that exercise leads to enhanced cardiovascular health, sleep, bone strength, creativity, self-esteem, balance, memory, cognitive flexibility, attention, problem-solving, and overall sense of well-being. Improvement in all these areas not only results in better overall health, but it can have a positive impact on our writing as well. However, in our busy schedules, trying to fit in both writing and physical activity amongst everything else can be challenging. By dictating while walking, we can combine these two activities and better integrate them into our daily lives.

Feeling the Flow

Reaching a creative flow state is something I crave as a writer. Those writing sessions where hours pass without me realizing it, words flood the page, and it feels as though the story is writing itself. I’ve tried many tricks over the years to reach this flow state—the right writing setup, great music, a unique writing ritual—but none of these methods have worked as well for me as writing in motion. While I don’t get to the flow state every time I use the treadmill, I find I reach it more frequently.

Decreased Distractions

Though having your phone in your hand to dictate might sound like the perfect recipe for distraction, I’ve found the opposite in practice. Because I’m so focused on generating ideas, walking, and dictating, my mind is too busy to wander. Too busy to watch another cute koala reel on Instagram, see what friends are up to on Facebook, or refresh my e-mail. Because my mind is occupied and I can only have one program open on my screen at a time, I’m less likely to fall down a research rabbit hole mid-writing session. When I get to a point in the scene where I need more information, I’m forced to dictate a placeholder rather than spend an hour researching how a character might repair an internal combustion engine.

Increased Inspiration

While most of my writing is done on a treadmill, I do also take my craft outdoors. When I write outside, whether I’m in an exciting, new location or in my neighborhood, I find infinite ideas for my settings. For example, seeing the variety of colors in the fall leaves on my usual route sparked an idea for a world where the magic system changes with the seasons. Outdoors, I’m also naturally forced to experience the world with more of my senses—to pay attention to more than just what I see. Hearing hawks calling to each other, feeling the oppressive heat of the humid 90-plus-degree summer, and smelling the blooming wildflowers remind me to use a variety of sensory details in my scenes.

Getting Started

As with all new strategies, writing while walking does have a learning curve. Speaking the words aloud can feel strange and awkward, getting used to your software’s quirks can be frustrating, and editing mis-dictated words afterwards takes time. However, with practice and patience (and a little time devoted to setting up), this method increases my enjoyment of writing, improves my productivity, and feels just as natural as typing at my desk. As you’re getting started, walking at slow speeds, using all safety features of your treadmill such as handrails and safety keys, setting your phone on the treadmill’s console, and walking in outdoor areas you are familiar with can all be ways to ease into this new method. 

Whether you use this strategy as a core part of your process, as a weekend treat, or as a way to just mix things up to get over writer’s block, writing while walking can be an incredible addition to your creative practice.

Explore more articles from Writing by Other Means

Corrine Kumar is a science fiction and fantasy writer with a love of martial arts, cooking, and learning languages. Her greatest writing influences are Brandon Sanderson, Fonda Lee, Pierce Brown, and Christopher Ruocchio. She is an alumnus of the Futurescapes Writers’ Workshop, and her articles “Active Reading to Step Up Your Writing,” “It’s All About Momentum: Writing Effectively and Productively Amidst a Busy Life,” and “Characterization and Worldbuilding Through Fight Scenes” were previously published by The SFWA Blog. Corrine can be found on Twitter, Instagram, and Bluesky.

The post Walking and Dictating: A New Strategy to Mix Up Your Writing Routine appeared first on SFWA - The Science Fiction & Fantasy Writers Association.

Rosemary Edghill (June 1956–07 April 2026), also writing as, eluki bes shahar and James Mallory, was a prolific novelist, short story writer, comic writer, and essayist. She is known for her genre-spanning work, writing both alone and collaboratively. Mad Maudlin, her third Bedlam’s Bard collaboration, was a 2002 Voices of Youth Advocates (VOYA) selection as one of the best Horror and Fantasy novels of the year.

Starting as a comic book and then a regency romance writer, Edghill debuted in science fiction and fantasy writer with the space opera Hellflower series, and continued to write across genres and media, collaborating with several of the bestselling women authors of the day. Dozens of her short stories were published, and dozens of collaborations of varying length, along with her own novels, including the Bast series, and the Twelve Treasures. Edghill continued writing and collaborating through the mid 2010s.

Edghill loved collaborative writing as a way to explore both another writer’s mind and the multitude of interpretations different people find in the same phrasing of language. She enjoyed her experiences at conventions, meeting and talking with other writers, and especially loved her English Toy Spaniels.

Rosemary Edghill lived 69 years.

The post In Memoriam: Rosemary Edghill appeared first on SFWA - The Science Fiction & Fantasy Writers Association.

Ian Watson (20 April 1943–13 April 2026) was an innovative and highly prolific novelist, poet, and short story writer. Watson’s 1973 novel The Embedding won the John W. Campbell Memorial Award for Best Science Fiction Novel, and was also a Nebula Award Finalist, along with the 1985 novelette “Slow Birds.” Watson was also a Hugo Award Finalist for “Slow Birds” and “The Very Slow Time Machine.” Watson’s 1975 novel The Jonah Kit won the BSFA Award, and in 2024, Watson was named European Science Fiction Grandmaster by the European Science Fiction Society.

Watson served as the SFWA Overseas Regional Director in the early 2000s, and he was the long-time European Editor for the SFWA Bulletin, where he also handled the regional shipping of copies. Born in England and settling in Spain, Watson was often a featured guest at European book and science-fiction conventions and events.

Focused on thought, perception, and transcendence, with a detailed eye to control of information in pursuit of power, Watson wrote, explored, and taught over the course of six decades. Watson wrote over 200 short stories, including 11 short story collections, alongside dozens of novels. While best known for his science fiction, Watson enjoyed innovation across genres, including satire, erotica, thriller, and horror. His works were translated into a large variety of European languages, and the translation of The Embedding, L’Enchâssement, won the Prix Apollo in 1975.

Watson, along with Michael Bishop, achieved the first noted transatlantic science-fiction novel collaboration, Under Heaven’s Bridge, via mailed, typewritten manuscripts. In 1990, Watson was the first novelist for the Warhammer 40,000 wargame setting, and he is a credited writer, in a collaboration with Stanley Kubrick, for the Steven Spielberg’s 2001 A.I. Artificial Intelligence.

Ian Watson lived 82 years.

The post In Memoriam: Ian Watson appeared first on SFWA - The Science Fiction & Fantasy Writers Association.

 

Joseph Lee Green (14 January 1931–20 February 2026) was a prolific science-fiction writer. A charter member of SFWA in 1965, he was the Nebula Conference Toastmaster in 1970, and served as co-Director of the South/Central Region from 1976 to 1978.

A missile base construction worker and later communications writer for the US Space Program, Green also wrote prolific fiction on topics of extraterrestrial life and technology, including genetic modification. Green also wrote for non-fiction articles for Analog Science Fiction and Fact between 1967 and 1972. Around 80 of his short stories were published over the course of nearly 60 years, along with eight novels. His earlier novels include 1971’s Gold the Man (published in the US as The Mind Behind the Eye), and he returned to novels in the late 2010s, including with a supernatural murder series. Green’s novelette “The Decision Makers” was nominated for a Nebula Award in 1965.

Author Robert Silverberg remembers:

“I met Joe Green at the 1961 Worldcon in Seattle. My career was well established by then, but Joe was just starting to think about doing some writing, and asked me a lot of questions about the commercial aspects of writing for a living.  I helped him as much as I could, and was pleased to see his name turning up on the contents pages of the s-f magazines not long afterward. A good many stories and some novels followed over the years, an impressive body of skillfully done work. Wisely, though, he looked upon writing as a sideline – very few of us have been able to make a go of it as a full-time proposition — and as his primary activity he put in 37 years as an engineer with NASA, serving to turn science-fiction into reality. When such writers as Robert A, Heinlein, Arthur C. Clarke, and Gordon Dickson came to the Kennedy Space Center to see the launch of moon rockets, Joe, who lived nearby, was their genial host.  I enjoyed a friendship with him of more than sixty years and his passing leaves yet another big absence for me.”

Joseph Green lived 95 years. 

The post In Memoriam: Joseph L. Green appeared first on SFWA - The Science Fiction & Fantasy Writers Association.

Lee Martindale (1949–10 March 2026) was a multi-genre fantasy writer, editor, anthologist, essayist, advocate, Named Bard, ordained minister, and friend to many.

Martindale served for two three-year terms on the SFWA Board of Directors, where she authored and was a fierce advocate for SFWA’s Accessibility Guidelines. She served on the Grievance Committee as a liaison to membership, and also as the SFWA Ombudsman. She received the Kevin O’Donnell, Jr. Service to SFWA Award in 2019.

Martindale was a passionate writer her whole life, yet it wasn’t until her forties when she first sold a published short story, “YearBride,” the first of around three dozen short stories published over the next quarter of a century. Martindale’s writing danced through speculative realms, centered in fantastical sword and sorcery—and never stayed its hand from exploring love, marriage, and sex. Determined to defy harmful standards for women in sword and sorcery, she was proud of stories such as 1998’s “Neighborhood Watch,” which introduced a “fat, feisty, and toothsome heroine into SF&F.” Martindale also wrote essays on her experiences and advocacy work, in her own Rump Parliament Magazine, her The Bard’s Fire blog, and in the 2012 article “The Good Guest Primer” for the SFWA Bulletin, edited by Jean Rabe.

Martindale’s anthologies and collections were of particular and groundbreaking importance to women in genre. Her 2000 anthology, Such A Pretty Face: Tales of Power and Abundance, centered fat protagonists, enabling a new welcome to many women to see themselves in the stories they loved. And her 2011 anthology, The Ladies of Trade Town, featured sex workers as protagonists in speculative stories. The continued notability of these collections speaks to Martindale’s insight and impact. She published a collection of her essays in 2008, and one of her short stories in 2014, under her own imprint, HarpHaven Publishing.

Lee was a member of the “SFWA Musketeers,” a self-proclaimed troupe of SFF women authors, all members of SFWA, almost all of whom were skilled fencers. Rumor speaks of some men as auxiliaries. Lee fenced from her “battle chariot” (motorized wheelchair), delighting doubters and the familiar alike with her victories (and losses) during convention demos.

Former SFWA President Cat Rambo says, “Lee was sharp and funny and unafraid. She spoke her mind and I am so sad never to be able to talk with her again in this life.”

Writer and Musketeer Elizabeth Moon recalls, “I knew Lee Martindale for years both in SFWA, and outside it; as a personal friend who, with her husband George, enlivened many a Thanksgiving feast and birthday party at our place. Lee enjoyed visiting with my horses and they enjoyed her, until Rags was a Bad Bad Pony and bit her once. She was a lively, interesting, fun guest to have around the big table. And as most of you know, a fierce advocate for many causes. I’m sure whatever post-life location her soul ended up is enjoying her now. I certainly did.”

Writer and Musketeer Melanie Fletcher notes, “If you looked up ‘force of nature’ in the dictionary, you’d see Lee’s picture. She was a brilliant writer and editor, a fierce champion and activist, and the most loyal friend anyone could ask for. She was also my treasured sword sister as one of the SFWA Musketeers. One of the most ‘Lee’ moments I can remember was when she received an angry letter from someone she’d turned down for an anthology threatening physical violence. Her reply: ‘I have two things to say to you: ‘Smith & Wesson’ and ‘Come ahead, sucker.’’ The next letter she received from the individual (yes, he wrote back) was exquisitely polite.”

Writer and Queen of the Musketeers (not a fencer, as it was not considered wise to hand her sharp, pointy things) Esther Friesner remembers, “I don’t know when we first met but I’m so glad that we did. She was talented, no-nonsense, gifted and able to speak frankly without using ‘honesty’ as a shield for speaking cruelly. She knew how to choose her battles and was never one to retreat from what needed to be done or what needed to be said. She was always fun to hang out with. As the Musketeer’s Queen I took to calling her ‘ma barde,’ and bard she was. It’s very hard accepting that ma barde has gone ahead. It is a comfort to know that even so, her music and her voice remain.”

Lee Martindale lived 76 years.

The post In Memoriam: Lee Martindale appeared first on SFWA - The Science Fiction & Fantasy Writers Association.

Jeffrey A. Carver (25 August 1949–06 February 2026) was a prolific and beloved novelist, short story writer, essayist, teacher, and creator of science fiction worlds, such as The Chaos Chronicles and the Star Rigger Universe. Carver wrote over a dozen novels and two short fiction collections. His novel Eternity’s End was a finalist for the Nebula Award in 2001. Carver received the Helicon Frank Herbert Lifetime Achievement Award in 2022.

In service to SFWA, Carver first took on the role of Nebula Awards Committee Chair and then as SFWA Awards Rules Committee Chair for more than 25 years, starting in July 1998.

Carver directly and unabashedly loved science fiction. His childhood wonder at the expanse of space led him to find that same inspiration in writing, in literature as exploration. Carver wrote of possibilities, hoping readers would take that insight and question the world around them, of what possibilities it could hold. Carver took his passion also to teaching, with the educational series Science Fiction and Fantasy Writing.

Author Robert J. Sawyer reflects:

“Jeff Carver was an absolute gentleman. Although at that point, we’d only ever met online, when he heard I was coming to his home state to do a signing, he invited my wife and me to stay overnight at his home. He was also one of the few authors willing to share hard numbers with others; he believed the more we all collectively knew, the better off everyone would be. We were friends for thirty years, and I will miss him for the rest of my life.”

Jeffrey A. Carver lived 76 years.

The post In Memoriam: Jeffrey A. Carver appeared first on SFWA - The Science Fiction & Fantasy Writers Association.

LAcon V has announced that online voting for the 2026 Hugo Awards, the Lodestar Award for Best Young Adult Book, and the Astounding Award for Best New Writer are now open.

WSFS members can access the Hugo Awards Voter Packet and cast their ballot by logging in to the LAcon V online balloting portal. The deadline is August 8, 2026, 12:00 p.m. PDT, and votes can be resubmitted at any …Read More

The post Online 2026 Hugo Voting Open appeared first on Locus.

Finalists for the 2025 Analog Analytical Laboratory (AnLab) Award and the 2025 Asimov's Readers' Awards have been announced.

The Analog AnLab Awards finalists are:

Novella

• Aleyara's Flight , Christopher L. Bennett (11-12/25)
• Apartment Wars , Vera Brook (1-2/25)
• Murder on the Eris Express , Beth Goder (3-4/25)
• The Return of Tom Dillon , Harry Lang (3-4/25)
• Under the Moons of Venus , Jay Werkheiser …Read More

  The post 2025 Analog AnLab Awards and Asimov’s Readers’ Award Finalists appeared first on Locus.

Horror author Thomas Tessier, 78, died March 26, 2026.

Thomas Edward Tessier was born May 10, 1947 in Waterbury CT. He studied at University College Dublin in Ireland and lived in the UK for many years before eventually returning to Connecticut.

Tessier's first genre novel was The Fates (1978), an SF horror, and he also wrote The Nightwalker (1979); Shockwaves (1982); World Fantasy Award nominee Phantom (1982); Finishing Touches (1986); …Read More

The post Thomas Tessier (1947-2026) appeared first on Locus.

Interview with Tristan Evarts

Tristan Evarts is the editor of Utopia Science Fiction Magazine, and since 2019 he has overseen the publication of optimistic prose, poetry, non-fiction, and art. The magazine operates with a reverence for the classics of the SF canon while pushing to explore new ways of living, technology as a friend rather than enemy, and humanity adapting to present crossroads. Themes push writers to examine the different manifestations of utopia, ranging from language to disability to weird SF. Contributors include Beth Cato, Jean-Paul L. Garnier, and Bogi Takács. Cover artists range from Donato Giancola to Stephen Youll to Alyssa Winans. Every December, Utopia SF publishes an art special, showcasing a broad range of talent, with a portion of the profits donated to charity.  

Tristan gave me my start as an SF interviewer when he took me on as outreach manager in 2023, so it’s a real pleasure to be sharing this interview with him now.  

James Machell

JM: What do you think makes a really great utopian story?

TE: I think a great utopian story realizes that a utopian world isn’t the end game in and of itself, and that it’s really just a launching pad for truly discovering the universe and examining the more subtle but powerful aspects of what makes us human. It doesn’t accomplish this the way most people seem to want, by tearing down the utopia and setting us back to the apocalyptic and imperfect world we live in today, but by saying “Okay, we’ve gotten past our worst, childlike instincts. Not suppressed or ignored them, but actually learned to deal with them in a healthy way. What next?” We can still find conflict, but we get to solving it the right way in the end. We learn, we grow, we discover new mysteries, and when conflict arises, we show how to navigate it in a healthy way, even if it might take a while to get there. I’d point to many classic Star Trek episodes, or James White’s Sector General novels, as some good examples.

JM: Can you take us through how Utopia Science Fiction Magazine has developed since it was founded in 2019?

TE: It’s developed quite a lot. It went from a single-person, token-paying small operation in 2019 to what it is today: a globally staffed, pro-paying magazine. It’s been quite a journey and I owe an awful lot to all the staff and volunteer readers who have joined us over the years to help progress us to where we are today. And we’re not done yet! Our hope, as always, is to increase readership and subscribers, which helps drive up the amount we can pay authors and artists. We’ve come a mighty long way and there’s further still to go!

JM: What drew you to publishing utopian writing?

TE: Chiefly a desire to move away from the (at the time) crushing amount of dystopian fiction out there. You know the phrase: “You are what you eat.” The same is true that “you are what you read.” If all you read is dark, gritty, disparaging, cynical things about the world then that’s how you start to view it and, at least at an unconscious level, how you begin to shape the world around you. It’s a cyclical pattern—people who see the world as apocalyptic are more likely to see the darker things and when those get more attention, they take over our worldview. For a real-life example, just look at the news cycle and see how that affects people’s worldview and mental health. We need to see the good, the hopeful, especially when things are at their darkest. We need to know that we can (and will) overcome this and this is what it’s going to look like at the end. And seeing Utopia as a beginning and not an end is important too. I think, with the arrival of all the cozy books coming out, more people are starting to realize this. I think in the Encyclopedia of Science Fiction, we’re mentioned as part of the solarpunk movement and hearing that is quite an honor.

JM: In addition to publishing science fiction stories, poetry, non-fiction, and art, Utopia Science Fiction Magazine also offers a critique service, helping budding writers to find their feet. You’ve also recently taught an Apex creative writing class. Can you describe your approach to assessing a piece of writing,  and some of the suggestions you’re most likely to make?

TE: Let’s start off with assessment. When I look at a story there are a few things I’m really hoping to see before I go on to accept it. The first is: does the story grip me from the first paragraph? If I make it to the end of the first page and am not thoroughly engrossed with a story or character, I’ll usually pass on it. Second is pacing and momentum. If a story starts off strong, does it carry through the rest of the piece? Sometimes, for short pieces, I’ll read through it entirely, but for longer pieces, there’s a trick to use. In the well-written, well-structured story, you can read the first and last sentences in each paragraph without reading anything in the middle and still walk away with all the essential information you need for plot and story. If you do that and stumble or get confused, it means the story has pacing issues and depending on how far from the mark that goes, I may decide it requires more editing than any of us have time to do before the next issue and pass on it. Third is the ending. The last line a person writes is the single most important line they will write. It’s going to decide if the story stays in my memory, awakens that feeling of wonder, or simply fizzles into the frustrating silence of unfinished or underdeveloped potential. So, if it’s got a strong start and consistent pacing, but the ending is flat or leaves us in a rather dismal or dystopian way, I’m liable to pass on it.  If I accept it and decide to work with the author to edit it into shape, there are a lot of suggestions I might make depending on what the piece needs. My goal is always to elevate the writer – to get them to perfect their craft a bit more, to push harder and write better by cutting out extraneous words, adding complexity to the themes and ideas, and really project their message out into the world. 

JM: Roughly, what is the acceptance rate for stories submitted to Utopia Science Fiction Magazine?

TE: We receive hundreds upon hundreds of submissions in a given year and only publish a total of 15 to 20 stories in a given year. So, like all magazines, there’s a small acceptance rate based largely on limited space. We have to reject a lot of great stories just based on that alone. 

JM: Utopia Science Fiction Magazine has recently published its Weird Science Fiction issue. What themes can we be on the lookout for in the future?

TE: We have the cozy issue in June, and August is always an ‘anything goes’ field where we try to publish the best of the best. Every June/July the editors of Utopia meet up and discuss what we want the themes for the next volume to be. There are always a lot of good ideas passed around, but only a few issues we publish. So, what’s on the horizon for next volume’s themes? You’ll just have to stay tuned!

JM: What are some of the books and stories you wish you could travel back in time and publish yourself?

TE: That is a very good question and one I’m not sure I can answer. There are a lot of stories I love, but I’m glad they’ve been published elsewhere. It gives us a chance to read them, to learn from them and push the envelope farther in terms of ideas, technique, etc. We have a part of our magazine called The Vault where every issue I go back and find some amazing, public domain, stories to publish. So, in essence, if there are stories I really love I can go back in time and publish them in this manner  (after a very exhausting and extensive search for the public domain and copyright registrations). 

JM: When you’re not at the helm of Utopia Science Fiction Magazine, you’re running Castle Books & Tea. Can you tell us a bit about your life as a bookseller and are you offering any good deals on rare books at the moment?

TE: Castle Books and Tea was born out of a bizarre moment when I realized I had free time, and it felt so unnatural I panicked and decided to launch a side project. I’m happy to say I no longer have anything remotely considered free time anymore. But it’s a real passion project— one of our specialities is vintage science fiction books. I’ve been to a lot of places to stock books and bought some amazing collections from people to resell. We’ve had books signed by Isaac Asimov, Kurt Vonnegut Jr., Roger Zelazny, and a lot more. It’s fun to track down some of the harder to find books too, like Soviet Sci-Fi or the novels of Clifford D. Simak. We usually have a big sale in May to celebrate our anniversary (this year is the start of our 5th) and a lot of small sales throughout the year.

JM: What are some of the tropes and subjects that you’d prefer that authors avoid in submissions?

TE: I have read far more books about robots, AI, etc. than I ever hoped could have existed. While we find things about these books to like, it’s an exhausted topic and I find myself preferring more novel ideas. Otherwise, it’s a lot of what other sci-fi magazines hope to avoid seeing. We’re particular in that we really don’t need to see any dystopian, post-apocalyptic, shoot-em-dead stories. As our name suggests, these types of stories really aren’t for us.

JM: Any tips for budding writers who’d like to make Utopia Science Fiction Magazine their first place of publication? 

TE: Write every day and read every day. Read the stories you like and read them for technique, not just for story. Read what Utopia has published. A lot of them are available for free through our site, Medium, and Substack. Also don’t get discouraged. You will get rejected. A lot. But that’s all just practice for when you get accepted. And you will. Just keep improving your craft. 

Tristan Evarts

Tristan Evarts is the editor-in-chief of Utopia Science Fiction Magazine and has been for the past seven years. He has a Bachelor’s in English and Philosophy with a specialization in creative writing and a Masters in Library and Information Science. When not editing, he is working at the library or at his bookshop, Castle Books and Tea, or growing his eclectic collection of books.

James Machell

James Machell is a British writer. He contributes to The Encyclopedia of Science Fiction and curates its Substack. He also serves as Outreach Manager for Utopia Science Fiction Magazine and was the 2025 Contest Chair for the Science Fiction and Fantasy Poetry Association. Find him on Bluesky @jamesmachell.bsky.social or YouTube @Fell-Purpose.

Interview with Tristan Evarts

Tristan Evarts is the editor of Utopia Science Fiction Magazine, and since 2019 he has overseen the publication of optimistic prose, poetry, non-fiction, and art. The magazine operates with a reverence for the classics of the SF canon while pushing to explore new ways of living, technology as a friend rather than enemy, and humanity adapting to present crossroads. Themes push writers to examine the different manifestations of utopia, ranging from language to disability to weird SF. Contributors include Beth Cato, Jean-Paul L. Garnier, and Bogi Takács. Cover artists range from Donato Giancola to Stephen Youll to Alyssa Winans. Every December, Utopia SF publishes an art special, showcasing a broad range of talent, with a portion of the profits donated to charity.  

Tristan gave me my start as an SF interviewer when he took me on as outreach manager in 2023, so it’s a real pleasure to be sharing this interview with him now.  

James Machell

JM: What do you think makes a really great utopian story?

TE: I think a great utopian story realizes that a utopian world isn’t the end game in and of itself, and that it’s really just a launching pad for truly discovering the universe and examining the more subtle but powerful aspects of what makes us human. It doesn’t accomplish this the way most people seem to want, by tearing down the utopia and setting us back to the apocalyptic and imperfect world we live in today, but by saying “Okay, we’ve gotten past our worst, childlike instincts. Not suppressed or ignored them, but actually learned to deal with them in a healthy way. What next?” We can still find conflict, but we get to solving it the right way in the end. We learn, we grow, we discover new mysteries, and when conflict arises, we show how to navigate it in a healthy way, even if it might take a while to get there. I’d point to many classic Star Trek episodes, or James White’s Sector General novels, as some good examples.

JM: Can you take us through how Utopia Science Fiction Magazine has developed since it was founded in 2019?

TE: It’s developed quite a lot. It went from a single-person, token-paying small operation in 2019 to what it is today: a globally staffed, pro-paying magazine. It’s been quite a journey and I owe an awful lot to all the staff and volunteer readers who have joined us over the years to help progress us to where we are today. And we’re not done yet! Our hope, as always, is to increase readership and subscribers, which helps drive up the amount we can pay authors and artists. We’ve come a mighty long way and there’s further still to go!

JM: What drew you to publishing utopian writing?

TE: Chiefly a desire to move away from the (at the time) crushing amount of dystopian fiction out there. You know the phrase: “You are what you eat.” The same is true that “you are what you read.” If all you read is dark, gritty, disparaging, cynical things about the world then that’s how you start to view it and, at least at an unconscious level, how you begin to shape the world around you. It’s a cyclical pattern—people who see the world as apocalyptic are more likely to see the darker things and when those get more attention, they take over our worldview. For a real-life example, just look at the news cycle and see how that affects people’s worldview and mental health. We need to see the good, the hopeful, especially when things are at their darkest. We need to know that we can (and will) overcome this and this is what it’s going to look like at the end. And seeing Utopia as a beginning and not an end is important too. I think, with the arrival of all the cozy books coming out, more people are starting to realize this. I think in the Encyclopedia of Science Fiction, we’re mentioned as part of the solarpunk movement and hearing that is quite an honor.

JM: In addition to publishing science fiction stories, poetry, non-fiction, and art, Utopia Science Fiction Magazine also offers a critique service, helping budding writers to find their feet. You’ve also recently taught an Apex creative writing class. Can you describe your approach to assessing a piece of writing,  and some of the suggestions you’re most likely to make?

TE: Let’s start off with assessment. When I look at a story there are a few things I’m really hoping to see before I go on to accept it. The first is: does the story grip me from the first paragraph? If I make it to the end of the first page and am not thoroughly engrossed with a story or character, I’ll usually pass on it. Second is pacing and momentum. If a story starts off strong, does it carry through the rest of the piece? Sometimes, for short pieces, I’ll read through it entirely, but for longer pieces, there’s a trick to use. In the well-written, well-structured story, you can read the first and last sentences in each paragraph without reading anything in the middle and still walk away with all the essential information you need for plot and story. If you do that and stumble or get confused, it means the story has pacing issues and depending on how far from the mark that goes, I may decide it requires more editing than any of us have time to do before the next issue and pass on it. Third is the ending. The last line a person writes is the single most important line they will write. It’s going to decide if the story stays in my memory, awakens that feeling of wonder, or simply fizzles into the frustrating silence of unfinished or underdeveloped potential. So, if it’s got a strong start and consistent pacing, but the ending is flat or leaves us in a rather dismal or dystopian way, I’m liable to pass on it.  If I accept it and decide to work with the author to edit it into shape, there are a lot of suggestions I might make depending on what the piece needs. My goal is always to elevate the writer – to get them to perfect their craft a bit more, to push harder and write better by cutting out extraneous words, adding complexity to the themes and ideas, and really project their message out into the world. 

JM: Roughly, what is the acceptance rate for stories submitted to Utopia Science Fiction Magazine?

TE: We receive hundreds upon hundreds of submissions in a given year and only publish a total of 15 to 20 stories in a given year. So, like all magazines, there’s a small acceptance rate based largely on limited space. We have to reject a lot of great stories just based on that alone. 

JM: Utopia Science Fiction Magazine has recently published its Weird Science Fiction issue. What themes can we be on the lookout for in the future?

TE: We have the cozy issue in June, and August is always an ‘anything goes’ field where we try to publish the best of the best. Every June/July the editors of Utopia meet up and discuss what we want the themes for the next volume to be. There are always a lot of good ideas passed around, but only a few issues we publish. So, what’s on the horizon for next volume’s themes? You’ll just have to stay tuned!

JM: What are some of the books and stories you wish you could travel back in time and publish yourself?

TE: That is a very good question and one I’m not sure I can answer. There are a lot of stories I love, but I’m glad they’ve been published elsewhere. It gives us a chance to read them, to learn from them and push the envelope farther in terms of ideas, technique, etc. We have a part of our magazine called The Vault where every issue I go back and find some amazing, public domain, stories to publish. So, in essence, if there are stories I really love I can go back in time and publish them in this manner  (after a very exhausting and extensive search for the public domain and copyright registrations). 

JM: When you’re not at the helm of Utopia Science Fiction Magazine, you’re running Castle Books & Tea. Can you tell us a bit about your life as a bookseller and are you offering any good deals on rare books at the moment?

TE: Castle Books and Tea was born out of a bizarre moment when I realized I had free time, and it felt so unnatural I panicked and decided to launch a side project. I’m happy to say I no longer have anything remotely considered free time anymore. But it’s a real passion project— one of our specialities is vintage science fiction books. I’ve been to a lot of places to stock books and bought some amazing collections from people to resell. We’ve had books signed by Isaac Asimov, Kurt Vonnegut Jr., Roger Zelazny, and a lot more. It’s fun to track down some of the harder to find books too, like Soviet Sci-Fi or the novels of Clifford D. Simak. We usually have a big sale in May to celebrate our anniversary (this year is the start of our 5th) and a lot of small sales throughout the year.

JM: What are some of the tropes and subjects that you’d prefer that authors avoid in submissions?

TE: I have read far more books about robots, AI, etc. than I ever hoped could have existed. While we find things about these books to like, it’s an exhausted topic and I find myself preferring more novel ideas. Otherwise, it’s a lot of what other sci-fi magazines hope to avoid seeing. We’re particular in that we really don’t need to see any dystopian, post-apocalyptic, shoot-em-dead stories. As our name suggests, these types of stories really aren’t for us.

JM: Any tips for budding writers who’d like to make Utopia Science Fiction Magazine their first place of publication? 

TE: Write every day and read every day. Read the stories you like and read them for technique, not just for story. Read what Utopia has published. A lot of them are available for free through our site, Medium, and Substack. Also don’t get discouraged. You will get rejected. A lot. But that’s all just practice for when you get accepted. And you will. Just keep improving your craft. 

Tristan Evarts

Tristan Evarts is the editor-in-chief of Utopia Science Fiction Magazine and has been for the past seven years. He has a Bachelor’s in English and Philosophy with a specialization in creative writing and a Masters in Library and Information Science. When not editing, he is working at the library or at his bookshop, Castle Books and Tea, or growing his eclectic collection of books.

James Machell

James Machell is a British writer. He contributes to The Encyclopedia of Science Fiction and curates its Substack. He also serves as Outreach Manager for Utopia Science Fiction Magazine and was the 2025 Contest Chair for the Science Fiction and Fantasy Poetry Association. Find him on Bluesky @jamesmachell.bsky.social or YouTube @Fell-Purpose.

The Pulitzer Prize Winners have been announced.Angel Down by Daniel Kraus (Atria) won in the Fiction category. Other finalists of genre interest include Auditionby Katie Kitamura (Riverhead) andStag Dance: A Quartetby Torrey Peters (Random House). In addition, Things in Nature Merely Grow by Yiyun Li (Farrar, Straus & Giroux) won in the Memoir or Autobiography category.

The Pulitzer jury said ofAngel Down: A breathless novel of World War …Read More

The post 2026 Pulitzer Prize Winners appeared first on Locus.

Transworld has announced the launch 3AM Books, Penguin Random House's first dedicated horror imprint. The imprint will reflect the full range and ambition of horror today, bringing together established voices, bold new talent and a growing community of readers, according to The Bookseller.

Imprint leadership will include publishing director Rachel Winterbottom, editorial director Simon Taylor, editor Nicole Witmer, assistant editor Anna Carvanova, marketing executive Molly Openshaw, press officer Nina Lewis, …Read More

The post New Imprint: 3AM Books appeared first on Locus.