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    Apex Magazine: Issue 56
    Apex Magazine: Issue 56
    Apex Magazine: Issue 56
    Ebook100 pages1 hour

    Apex Magazine: Issue 56

    By Sigrid Ellis

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    About this ebook

    Apex Magazine is a monthly science fiction, fantasy, and horror magazine featuring original, mind-bending short fiction from many of the top pros of the field. New issues are released on the first Tuesday of every month.

    Edited by Hugo Award-nominated editor Sigrid Ellis. This was her first issue.

    Table of Contents
    Fiction
    Pale Skin, Gray Eyes by Gene O'Neill
    Jackalope Wives by Ursula Vernon
    Dispatches from the Revolution by Pat Cadigan
    Nonfiction
    Women in Pre-1947 Chinese and Indian Horror Fiction and Film by Jess Nevins
    Interview with Gene O'Neill by Maggie Slater
    Interview with Incoming Editor-in-Chief Sigrid Ellis by Maggie Slater
    Resolute: Notes from the Editor-in-Chief
    Cover art by Emma Rios.

    LanguageEnglish
    PublisherApex Book Company
    Release dateSep 19, 2016
    ISBN9781370525430
    Apex Magazine: Issue 56

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      Book preview

      Apex Magazine - Sigrid Ellis

      TABLE OF CONTENTS

      Editorial

      Resolute: Notes from the Editor–in–Chief

      Sigrid Ellis

      Fiction

      Pale Skin, Gray Eyes

      Gene O’Neill

      Jackalope Wives

      Ursula Vernon

      Dispatches from the Revolution

      Pat Cadigan

      Nonfiction

      Interview with Incoming Editor–In–Chief: Sigrid Ellis

      Maggie Slater

      Women in Pre–1947 Chinese and Indian Horror Fiction and Film

      Jess Nevins

      Interview with Gene O’Neill

      Maggie Slater

      RESOLUTE: NOTES FROM THE EDITOR-IN-CHIEF

      Sigrid Ellis

      In November of 2013 my family and I traveled to Guatemala. We looked at old churches and new coffee plantations, we roasted marshmallows in the vents at the top of an active volcano, we rode horses and ziplined through the jungle. We also went to Tikal, site of a Mayan city three thousand years old.

      Tikal is in ruins now. I say, in ruins, though I doubt that anything my culture is making today will look so good in three thousand years. The limestone blocks still stand, jutting through tropical canopy towards the sky. As we approached the city, trudging up muddy root–strewn paths, our guide informed us that from this point onward, every hill in sight was a building. The flat ground we crossed was ten meters of fill and rubble and pavement. That everything — everything we saw — was created by humans over the course of eight hundred years. Eight hundred years of civilization, with only the most recent in sight.

      The present is built on the past.

      Our features this month understand the relationship between past and present. Gene O’Neill’s Pale Skin, Grey Eyes, takes a personal and cultural look at the destruction that can be wrought when everyone in a situation acts in good faith, based on what they know to be true from past experience. In Jackalope Wives Ursula Vernon reminds us that eventually everything has consequences, that the unforeseen future turns into right now so much faster than we expect. Pat Cadigan’s Dispatches from the Revolution changes the past to explore the present in ways that are deeply relevant today. And in Women in Pre–1947 Chinese and Indian Horror Fiction and Film Jess Nevins demonstrates that we may forget the past, but it echoes through our work today.

      The present is built on the past. Unavoidably. Unalterably. There’s no way to get to now without going through then. And I would not want it any other way. There’s no way to get to me, now, here, talking to you, without every moment of who I used to be. There’s no way to get to Apex, here, now, without the incredible work of Cat Valente, Lynne M. Thomas, and Michael D. Thomas. Anything we do at Apex going forward begins from the progress they have made.

      I give my thanks to those who came before me. My gratitude goes to all of you with me now. And I hold appreciation for all of those who will join us in the future.

      Thank you for joining me for this, my first issue, of Apex Magazine.

      Welcome.

      Sigrid Ellis

      Editor–in–Chief

      INTERVIEW WITH INCOMING EDITOR-IN-CHIEF SIGRID ELLIS

      Maggie Slater

      Sigrid Ellis is a woman of many talents. She is not only an editor with some impressive credits to her name (she co–edited the Hugo–nominated Chicks Dig Comics with Lynne M. Thomas, and co–edited Queers Dig Time Lords with Michael Damian Thomas, and the comic Pretty Deadly), but also an author of fiction and non–fiction, an air traffic controller, a blogger, and a home–schooling mom to boot. To say she’s got a knack for juggling many projects at a time is the understatement of the year.

      To get to know her a little better, and to give our readers a little insight into the upcoming year at Apex, Ms. Ellis and I took a few minutes to talk about her goals, hopes, fears, comics, and time–travel.

      APEX MAGAZINE: What are some of your goals for Apex in the coming years? Any teasers you can share?

      SIGRID ELLIS: My goals for Apex are straightforward. I want to continue presenting high–quality, award–winning new short fiction to readers. I want to find ways to get more readers for Apex, to extend the reach of the magazine. You can therefore expect to find a mix of contributors — new authors completely unknown, popular essayists, writers better–known for their comics or television work, writers better–known for other genres.

      AM: What are you most looking forward to and what (if anything!) makes you nervous about taking the helm of Apex Magazine?

      SE: Heh. I’m looking forward to helping shape the experience readers have of genre fiction. I am a genre reader from way, way back. I remember all those anthologies, the collections and best–ofs. I remember how utterly mind–blowing they were to kid–me. And now I have been given a chance to be the influence, to open eyes and doors and minds.

      Similarly, I have a chance to bring new writers forward. To start talented folks on a path towards an authorial career, if that’s what they want.

      As for what makes me nervous, well, all of it. This is new to me. I will make mistakes, and I hate making mistakes. But we will cope with those as we reach them.

      AM: You’ve done a lot of editing before, including Chicks Dig Comics and Queers Dig Time Lords, among others. What is your personal philosophy, as an editor, when approaching the compilation of short fiction into a cohesive whole?

      SE: Diversity of theme and tone, representation of the world.

      I want fiction that is optimistic and depressing, light and heavy, fiction that is in different points of view, fiction in different verb tenses, different structures of fiction. I want a variety of readers, which means a variety of fiction. I also insist on increasing representation of the world in genre fiction. Simply put, if most genre fiction is written by straight white dudes featuring straight white dudes about the difficulties of being a straight white dude, the rest of the world is not being represented. Apex Magazine will work diligently to give readers more authors and characters who are not straight white dudes.

      AM: You also edit the fabulous comic Pretty Deadly (samples of which can be found here: http://prettydeadlycomic.tumblr.com/). What’s it like editing a comic, and what does that entail? Any plans for including graphic short stories in Apex?

      SE: I can’t say what it’s like to edit comics, just what it’s like to edit this particular one. Our publisher, Image Comics, gives all the creative teams room and space to create. This is either fantastic, or it’s just enough rope to hang oneself. The creators of Pretty Deadly, Kelly Sue DeConnick and Emma Rios, with Jordie Bellaire and Clayton Cowles, are largely self–operating. I set up schedules and give them deadlines, I remind them of the marks they need to hit to give the content to Image, and they do all the creative

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