- File Size: 10325 KB
- Print Length: 202 pages
- Simultaneous Device Usage: Unlimited
- Publisher: Metaphysical Circus Press (May 1, 2016)
- Publication Date: May 1, 2016
- Sold by: Amazon Digital Services LLC
- Language: English
- ASIN: B01EP4UPK6
- Text-to-Speech: Enabled
- Word Wise: Not Enabled
- Lending: Enabled
- Amazon Best Sellers Rank: #1,813,293 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
See The Elephant Magazine, Issue Two: Love & War in the Slipstream Kindle Edition
"Enlightenment Now: The Case for Reason, Science, Humanism, and Progress"
Is the world really falling apart? Is the ideal of progress obsolete? Cognitive scientist and public intellectual Steven Pinker urges us to step back from the gory headlines and prophecies of doom, and instead, follow the data: In seventy-five jaw-dropping graphs, Pinker shows that life, health, prosperity, safety, peace, knowledge, and happiness are on the rise. Learn more
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The second issue of this slipstream magazine from Metaphysical Circus Press is a worthy successor to its debut installment, and as such is required reading for anyone who enjoys contemporary literary fantasy and science fiction, the weird, the absurd, or experimental fiction in general. As before, the general standard is exceptionally high, with previously-unpublished writers hard to distinguish from established pros. The theme is loose-- "Love and War in the Slipstream"-- but the issue has a certain unity, a shared sense, perhaps, of how to use non-realistic elements in artful fiction.
And yet there's also a lot of variety. Some stories are on the lighter side, like the "They Got Louie," an all-dialogue piece short enough that its conceit doesn't wear thin, and "Inspiration 1.2," about the operating system for a computerized house and its unexpected ambition. Stories like Leslie What's "Big Feet," about the perils of being very tall, and Kristen Falso-Capaldi's "The Absence of Cows," which is about what its title suggests, may sound like comedy, but their absurdity is more melancholy-to-tragic than comical. Then there's the darkness of "Kaia," which deals in the pleasures of self-denying obsession, or "Summon Up the Blood," in which escape from one's history proves impossible even in a brave new world. Unexpected similarities and echoes crop up. The dreamlike, incantatory "The Cat's House" has some parallels with the sharp, direct "They Got Louie"; and the quietly moving "Fairview 619" takes a very different approach to a household operating system working outside its normal parameters than did "Inspiration 1.2."
It's hard to review a magazine like this at moderate length. You can do one paragraph, the blurb version, or you can tear into the meaning and the ups and downs of each story, producing something not even the authors will read all the way through. But a medium review can turn into a list of author names, titles, and potted summaries. So let's have instead some details devoid of context. A black Vietnam veteran in Haight-Ashbury. An orphaned niece with a tail. Jackdaws with human eyes. The phrase "gunpowder-colored peppercorn to parrot the purposefulness of a bullet in flight." The worst creative writing student imaginable. If you'll like, you'll love" is a dead-eyed framework, and yet. Do you read Apex, Clarkesworld, Lightspeed or (elsewhere on the spectrum) Conjunctions, McSweeney's? Do you know Kelly Link, Karen Russell, Aimee Bender, George Saunders? Well, you should. You should also read See the Elephant.