Aurealis #132

By Dirk Strasser (Editor), Stephen Higgins (Editor) and Michael Pryor (Editor)

Let editors Dirk Strasser, Stephen Higgins and Michael Pryor introduce you to the world of New Zealand speculative fiction in Aurealis #132. Get entangled in the Greek myths of James Rowland’s ‘Arachne’s Web’, re-imagined as humanity’s victories rather than its punishments. Spend some time with Andi C Buchanan’s ‘Like Clocks Work’ and explore the banality of evil in Peter Friend’s ‘DogWorld’. Then leave New Zealand briefly and enter the new world of Dirk Strasser’s latest instalment of the Conquist saga ‘Part 6 – In the Palace of Angels’.

The fascinating article on the history of New Zealand SF&F in this issue of Aurealis begins with the question ‘How has the most remote English-speaking country on the planet managed to develop fantastical worlds, visions, and futures that have gained so much international recognition and popularity?’ After reading this latest issue you’ll have the answer to that question.

Lucy Sussex’s article on Julius Vogel tells story of the man who both led his country and was the first New Zealander to write a science-fiction novel. Simon Litten and Sean McMullen look at the history of New Zealand Science Fiction and Fantasy from 1872 to 2019. And if you want to find out more about the current SF&F scene in New Zealand, move onto Marie Hodgkinson’s article where she declares ‘If you’re waiting for the great renaissance of Aotearoa science fiction and fantasy, we’re already there.’

Our reviewers have outdone themselves with this issue with a record 26 reviews of recently-released New Zealand works of SF&F. These books should become your go-to list for contemporary NZ speculative fiction. Reviewed books include The Dawnhounds by Sascha Stronach, From A Shadow Grave by Andi C Buchanan, and Year’s Best Aotearoa New Zealand Science Fiction & Fantasy Volume #1 edited by Marie Hodgkinson.

Aurealis #132 – All science fiction, all fantasy, all New Zealand!

• Language: English
• Publisher: Chimaera Publications
• Release date: Jun 29, 2020
• ISBN: 9781922031976

Dirk Strasser (Editor)

Dirk Strasser has written over 30 books for major publishers in Australia and has been editing magazines and anthologies since 1990. He won a Ditmar for Best Professional Achievement and has been short-listed for the Aurealis and Ditmar Awards a number of times. His fantasy novels – including Zenith and Equinox – were originally published by Pan Macmillan in Australia and Heyne Verlag in Germany. His children’s horror/fantasy novel, Graffiti, was published by Scholastic. His short fiction has been translated into a number of languages, and his most recent publications are “The Jesus Particle” in Cosmos magazine, “Stories of the Sand” in Realms of Fantasy and “The Vigilant” in Fantasy magazine. He founded the Aurealis Awards and has co-published Aurealis magazine for over 20 years.

Book preview

AUREALIS #132

Edited by Dirk Strasser, Stephen Higgins, Michael Pryor

Published by Chimaera Publications at Smashwords

Copyright of this compilation Chimaera Publications 2020

Copyright on each story remains with the contributor

EPUB version ISBN 978-1-922031-97-6

ISSN 2200-307X (electronic)

CHIMAERA PUBLICATIONS

Smashwords Edition License Notes

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Hard copy back issues of Aurealis can be obtained from the Aurealis website: www.aurealis.com.au

Contents

From the Cloud—Dirk Strasser, Stephen Higgins, Michael Pryor

Arachne’s Web—James Rowland

Like Clocks Work—Andi C Buchanan

DogWorld—Peter Friend

CONQUIST Part 6: In the Palace of Angels—Dirk Strasser

Julius Vogel and Anno Domini 2000; or, Woman’s Destiny—Lucy Sussex

Where Is Aotearoa New Zealand’s Speculative Fiction?—Marie Hodgkinson

New Zealand Science Fiction and Fantasy 1872–2019—Simon Litten and Sean McMullen

Reviews

Next Issue

Submissions to Aurealis

Credits

From the (Long White) Cloud

Dirk Strasser, Stephen Higgins, Michael Pryor

We can’t tell you how much we at Aurealis were looking forward to attending CoNZealand, the 78th World Science Fiction Convention, running from 29 July to 2 August in Wellington. For a large number of the Aurealis team who are based in Australia, it would have been their first overseas WorldCon. We had big plans for Aurealis, so to say we’re disappointed now that it’s no longer a live event is an understatement.

Our disappointment, though, would have been trivial compared to how devastated the CoNZealand organising team must have felt after years of preparation. They could have thrown their hands up in frustration and just packed it all in. Instead, they’ve chosen to boldly go where no WorldCon has gone before and become virtual.

So here’s the Aurealis contribution: an all-New Zealand issue celebrating our cousin’s significant contribution to world science fiction and fantasy. Simon Litten and Sean McMullen begin their fascinating article on the history of New Zealand SF&F with the question ‘How has the most remote English-speaking country on the planet managed to develop fantastical worlds, visions, and futures that have gained so much international recognition and popularity?’ If the premise of this question surprises you, make sure you start this issue of Aurealis by reading their account, which takes us from the oral Maori tradition of ballads, similar to the Arthurian legends of Britain, and the Scandinavian Viking sagas, to New Zealand becoming the spiritual home of the most iconic fantasy world ever conceived, Middle-earth.

Lucy Sussex’s article on Julius Vogel tells the story of the man who both led his country and was the first New Zealander to write a science-fiction novel: Anno Domini 2000; or, Woman’s Destiny, published in 1889 which depicted a utopian world where women held many positions of authority. With New Zealand being the first country in the world to give women the vote, it makes you wonder what would happen if more world leaders had also been science-fiction writers! And if you want to find out more about the current SF&F scene in New Zealand, move onto Marie Hodgkinson’s article where she declares ‘If you’re waiting for the great renaissance of Aotearoa science fiction and fantasy, we’re already there.’

Aurealis has had a long relationship with New Zealand. Even way back when we billed ourselves as ‘The Australian Magazine of Fantasy & Science Fiction’, we published stories by New Zealanders. And in more recent times, Australians and New Zealanders share the same open-submissions dates. Identifying our first published story by a New Zealander is not as straightforward as you would expect. Paul Collins who was born in England, raised in New Zealand, but has lived for a long time in Australia, appeared in Aurealis #2 with his story ‘One Day Soon’. The first story to appear by a writer based in New Zealand was ‘Wintering Over’ by Dunedin (now Wellington) author Tim Jones in Aurealis #5. Since then, there have been many others.

We published Wellingtonian Peter Friend’s very first work of fiction ‘Outdoors’ in Aurealis #8, and he went on to be published in magazines such as Asimov’s Science Fiction and Interzone. Peter’s latest story ‘DogWorld’ appears in this issue. Also in this issue is another magical story, ‘Arachne’s Web’, by one of the upcoming stars of New Zealand SF&F, James Rowland. Another NZ shining light, Andi C Buchanan, also makes an appearance with ‘Like Clocks Work’.

Our reviewers have outdone themselves with this issue with a record 26 reviews of recently-released New Zealand works of SF&F – all on a much tighter deadline than usual. These books should become your go-to list for contemporary NZ speculative fiction. Reviewed books include The Dawnhounds by Sascha Stronach, From a Shadow Grave by Andi C Buchanan, and Year’s Best Aotearoa New Zealand Science Fiction & Fantasy Volume #1 edited by Marie Hodgkinson.

Most of the illustrations in this issue are by New Zealand artists Emma Weakley and Laya Rose. This issue’s cover is by Emma and features the native orange-feathered Kea parrots.

We would like to thank Scott Vandervalk, Terry Wood, Eugen Bacon, Cas Le Nevez, and all thirty members of our Editorial team for the tireless work they have put into this truly special issue.

All the best from the (long white) cloud!

Dirk Strasser

Stephen Higgins

Michael Pryor

Editor: Dirk Strasser

Dirk Strasser has won several Australian Publisher Association Awards and a Ditmar for Best Professional Achievement. His short story, ‘The Doppelgänger Effect’, appeared in the World Fantasy Award-winning anthology, Dreaming Down Under (Tor). Dirk’s fantasy trilogy The Books of Ascension (Pan Macmillan) and short stories have been translated into several languages. His website is www.dirkstrasser.com.

Editor: Stephen Higgins

Stephen has been interested in science fiction for ages and has written a few stories for Aurealis in the past. Lately he has been creating a lot of music. You can hear his music on Spotify, iTunes, Bandcamp and Soundcloud and all of the other usual places you get your music. You can find out more at www.stephenhigginsmusic.com.

Editor: Michael Pryor

Michael Pryor has published more than 35 novels and 50 plus short stories.. He has been shortlisted for the Aurealis Award nine times, and eight of his books have been CBCA Notable books. His website is www.michaelpryor.com.au.

Associate Editor: Scott Vandervalk

Scott Vandervalk has been a freelance editor for over eight years, with projects ranging across the globe, from educational textbooks to novels, short stories, roleplaying games and boardgames, amongst other types of text. Scott has previously worked in science and education support, both of which have led to editing projects related to those fields. When not editing, Scott can also be found dabbling in gardening, cooking, writing or designing and playing games. Scott currently serves as president of the Bendigo Writers’ Council. Website: scottvandervalk.com.

Back to Contents

Arachne’s Web

James Rowland

The old woman vanished. In her place, wisdom herself stood in a fine gown of green. The visitors in the room bobbed like the tide against the shore. They lent in, ensnared by the metamorphosis, and then they recoiled, receding at the look of fury etched on the goddess’ face. Her skin flushed, magma bubbling beneath the surface. No-one dared look closely at her eyes. Directed at the woman behind the loom, the eyes burned and crackled with the intensity of a thousand lightning bolts.

‘Oh,’ the young woman said from behind her half-formed tapestry. She was called Arachne and she had been explaining to the rude crone who had barged into her home that she was the finest weaver in kósmos. Not even Athena herself could weave a tapestry as good as hers.

‘Oh,’ Athena repeated. Her fingers seemed to twitch, as if they longed to reach for the sword at her waist. ‘Is that all you have to say for yourself? Do you not apologise? Do you not grovel for forgiveness for such hubris and impertinence?’

The visitors to the house all looked away, suddenly intrigued and enchanted by the most common of things. They stared passionately at the wooden beams of the ceiling, or the exact positioning of a handle on a door. One naiad nudged the ribs of her human neighbour. ‘Excellent placement,’ she said.

The man agreed. ‘It’s an art form, really’. The truth was that this menagerie of dryads, satyrs and humans adored Arachne. They loved her tapestries and they loved her company. Many summer days had drifted by as they watched her weave. They didn’t want to witness her on her knees, sobbing for forgiveness.

Arachne lowered the thread of regal purple between her fingers and nodded at the goddess. ‘You are quite right, my lady Athena. I owe you an apology. You came as a guest and I did not you show you proper xenia. That was wrong of me. Even a rude, old woman deserves a drink and a comfortable seat. And if I knew it was you, I would have been most tactful in my words. I am sure you are also a talented weaver and you must feel proud of your work.’

‘Tactful,’ Athena spat. The audience gawked at Arachne.

Arachne inclined her head once more. ‘Yes. I should not have been so blunt about my skill. However, your presence doesn’t change that I am better. Surely, it would have been worse for me to falsely claim the mantle of the greatest weaver?’

The other Olympians would have killed the girl on the spot or transformed and punished her for an eternity. Even Athena longed to sever Arachne’s head from her body. But she was the goddess of wisdom and she could see further than all others. If she disposed of the girl now, her lie would live on. It would reach out and wrap its hideous fingers around the West Wind. Zephyrus would unknowingly spread it across the world, the words taking bloom in every land: Arachne was a better weaver than Athena.

‘Let us settle this in competition,’ Athena said. She looked around at the other beings in the room and saw their look of admiration at a fair fight; the goddess knew then she had made the right choice. She did not see the smile that shimmered just beneath the surface of Arachne’s face. The girl agreed to the contest.

One terrified farmer, who now wished he had stayed to watch his crops grow instead of making a fatal wrong choice, was asked who should weave first. The man stammered Athena’s name and the goddess nodded. Arachne moved, offering the seat at her loom, but Athena shook her head and marched outside of the cottage. Everyone followed.

Outside, Athena ran her hands along the garden fence. The wooden beams took new shapes. Each became a snake, twisting and turning in the simple garden. Some grew longer. Others shrank. All of them came back together, the fence now a perfect loom. Where Athena had walked, the grass lengthened, reaching out to the sky. She plucked the strands and added them to her machine. Then, with a melody so sweet that the crowd shivered and fell to their knees, Athena called down the clouds. She collected the pliable, soft material, sorting the good from the bad. If you knew how to look, and Athena did, there were secrets to be found. The clouds captured the blues of the skies and seas, the homely green of a well-kept garden, and the colour of its cousin, an untamed forest. They hid within themselves the drained yellow of a desert, the pinkish purple of Hera’s tears, and the crackling, hot white of a thunderbolt. All these colours slipped between the goddess’ fingers and Athena began to weave.

Her subject was obvious to her. If Arachne thought she could compete with the gods, let her see what fate awaited her. Athena spun four tales of mortal hubris, four tales of humans taking on the gods and failing, four tales of terrible punishments. Perhaps if Athena was not so afraid of Arachne’s skills, she may have weaved something more glorious. A celebration. A display of wonder. Instead, she stepped away from her loom to reveal a tapestry that was beautiful in its ghastliness. The crowd clapped and hooted. Athena offered a small smile.

Every head turned to look at Arachne. Her fists were clenched; her jaw was set as a mountain. Still, though, the ghost of a smile danced behind her eyes. ‘Very well, then,’ she said, walking back inside to her loom. ‘The lady Athena has given you