Future SF is a magazine focusing on international science fiction. In this oversized issue we've collected stories from the established masters as well as some exciting up-and-comers in China, Japan, and South Korea. From machine societies to ocean depths, from interstellar migrations to genetically engineered mermaids, these tales envision very different, often dark, but always fascinating futures. Includes the following stories: Rœsin by Wu Guan (translated from Chinese by Judith Huang) Raising Mermaids by Dai Da (translated from Chinese by S. Quouyi Lu) Butterfly Blue by Gustavo Bondoni (Argentina) Reflection by Gu Shi (translated from Chinese by Ken Liu; reprint) Whale Snows Down by Kim Bo-Young (translated from Korean by Sophie Bowman) Formerly Slow by Wei Ma (translated from Chinese by Andy Dudak) Just Like Migratory Birds by Taiyo Fujii (translated from Japanese by Emily Balistrieri)

Future SF is a magazine focusing on international science fiction. This issue features stories from Mexico, China, Croatia, and the United States. “The Second Celeste” by Alberto Chimal (Mexico), translated by Patrick Weill “The Two Festivals that Cannot Coexist” by Liu Cixin (China), translated by Nathan Faries “The Office Drone” by Nic Lipitz (USA)“Perfect Date” by Jelena Dunato (Croatia)| “The Final Test” by Ti Sha (China), translated by Judith Huang

Issue 3 of Future Science Fiction Digest features over 60,000 words of fiction. A selection of moon-based stories commemorates the 50th anniversary of the moon landing, followed by a sampling of AI stories (featuring both humans owning robotic dogs and robots owning live dogs!), with a little bit of time travel to round things out. Fiction from authors in the United States, China, Russia, Bulgaria, and Sri Lanka.

Inaugural issue of a new science fiction magazine with an added focus on international fiction and translation. Ranging from lyrical to humorous, from optimistic to jaded, from earthbound to interstellar, these stories offer six very different glimpses into the future. Matthew Kressel's "The History Within Us" takes place during the final stages of the heat death of the universe, where a ship filled with refugees of different species is huddled near one of the last burning stars, and that star is about to go nova. Tatiana Ivanova's satirical "Impress Me, Then We'll Talk About the Money" imagines the consequences of unscrupulous pharmacologists creating drugs that allow people to fulfill their deepest desire, which is to change. In "Earthrise," Lavie Tidhar examines what it means to be an artist in a futuristic society where humanity has colonized the solar system. In Alvaro Zinos-Amaro's "e^h" human colonists encounter a region of space in which their junk DNA mutates, revealing information encoded there by aliens. Teng Ye's "Universal Cigarettes" is a tongue-in-cheek tale of a grandiose marketing stunt with a dark twist reminiscent of Philip K. Dick's work. In the Nebula Award-nominated "Utopia, LOL?" by Jamie Wahls, a modern-day human wakes from cryogenic suspension in a utopian future overseen by a benevolent computer.

This book, first published in 1980, is a guide to the major forces in the subculture of science fiction. It analyses the history of the field and the related developments, for instance the Bomb, that have shaped the literature. It examines the complex of activity and background tradition, the body of accepted beliefs and conventions, and the ethics and values of the world of science fiction.

Transparent Minds explores the intersection between neuroscience and science fiction stories. Paul Matthews expertly analyses the narratives of humans and nonhumans from Mary Shelley to Kazuo Ishiguro across 200 years of the genre. In doing so he gives lucid insight into the meaning of existence and self-awareness. Rigorously researched and highly accessible, Matthews argues that psycho-emotional science fiction writers both imitate and inform alien and post-human consciousnesses through exploratory narratives and metaphor. Drawing from a diverse range of scholars and critics, Matthews explores topics such as psychonarration and neuroaesthetics, to create a thoughtful and cogent argument. By synthesising concepts from philosophy, neuroscience, and literary theory, Matthews posits the potential for science fiction to bridge the gap in understanding between AI and human minds. Given the recent advancements in AI technology, Matthews’ timely discussion enters the speculative realm of sentient technology and postcyborg ethics. The work constitutes a major contribution to cross-disciplinary perspectives on alien and posthuman psychology, that engages with future states of existence in both ourselves and the machines we create. Transparent Minds will be of interest to innovators, authors, and science fiction enthusiasts alike.