Andromeda Spaceways Inflight Magazine - Issue 28.pdf

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Issue #28 RRP $8.95
ORIGINAL FICTION BY:
Chris Barnes
Ben Cook
Marissa K Lingen
Gail Kavanagh
Rick Kennett
Ian McHugh
Tansy Rayner Roberts
Kaaron Warren
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Editorial
…Zara Baxter
I saw Children of Men when it came out in the UK last year. Children of Men portrays
a future where everyone is infertile. There have been no babies born for over eighteen
years, and time is running out for humans to ever reproduce again.
Why is the movie called Children of Men , when there are no actual children?
The metaphorical “Children of Men” referred to in the movie are not babies, they
are war and poverty, division and strife, hatred towards fellow mankind and fear of
difference.
Real human babies, in the movie, are symbolic of hope.
In Children of Men , then, we are looking at a world — pretty much literally
— without hope. One of the key insights about the movie, for me, was that a world
without hope looks an awful lot like ours, with only a few years remove and only a few
small pieces of legislation between us and them.
Have we lost hope? Is everything from here a long descent into blackness?
We’ve taken a step over a line that divides a world able to halt or even reverse
some effects of climate change, to a world that can no longer do that. As one example,
the polar ice caps are melting, and we can’t refreeze them by choosing alternative
energies. It’ll take centuries to reach a new equilibrium from the changes we’re
already wrought, let alone time to allow the earth to repair the damage we’ve done. It
may prove irreparable.
If I sound pessimistic, I am, but I think what disappoints me is that I haven’t yet
seen much science iction that tries to tackle that globally warmed future. Oh, there
are stories where the world looks just like ours but with hydrogen-powered cars. And
there are works, like Octavia Butler’s Parable of The Sower and Parable of the Talents
and the wonderful River of Gods , by Ian MacDonald, that portray a world socially
and politically compatible with global warming. But I wonder whether we don’t want
to imagine our future; a world that can only get worse. Maybe we want an optimistic
vision, an escape from the inevitable. We want ASIM, right?
Zara Baxter,
Editor, ASIM 28
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ANDROMEDA SPACEWAYS Inflight Magazine
Vol. 5/Issue 5
Issue 28
Fiction
4 Grace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ian McHugh
9 Sweet Potato Woman. . . . . . . . . . . . . . . . . . . . . . . . . . . . Chris Barnes
18 Polish. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kaaron Warren
26 Rest Stop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marissa K Lingen
38 The Dark and What It Said. . . . . . . . . . . . . . . . . . . . . . . . Rick Kennett
49 The Eradicator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ben Cook
57 The Bluebell Vengeance . . . . . . . . . . . . . . . . . . . Tansy Rayner Roberts
74 House In Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gail Kavanagh
Special FEatures
80 This is How the World Ends — Not with a Bang but with a Rip
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Clements
84 The Art of Balance — Interview with Trudi Canavan
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gillian Polack
90 Retro-Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ben Cook
Regular Features
94 Author Biographies
96 Acknowledgements
Editor, Issue 28
Zara Baxter
Copyright 2007
Andromeda Spaceways Publishing Co-op Ltd
c/- Simon Haynes, PO Box 127, Belmont, Western
Australia, 6984.
http://www.andromedaspaceways.com
Published bimonthly by Andromeda Spaceways Publishing
Co-op. RRP A$8.95. Subscription rates are are available
from the website.
Andromeda Spaceways Publishing Co-op actively encourages
literary and artistic contributions. Submissions should be
made online by emailing:
asimsubmissions@gmail.com
Submission guidelines are available from the website. Please
read them.
ISSN 1446–781X
Editor-in-chief
Robbie Matthews
Layout
Zara Baxter
Subscriptions
Simon Haynes
Advertising
Tehani Wessely
Cover Art
Daryl Lindquist
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Grace
…Ian McHugh
Six months after she died, he gets the call to collect her from the airport. He
doesn’t listen to their excuses, just pulls on his coat and boots, rushes from the
house and runs down to the station to wait, panting and impatient, for the next
cable car across the canyon.
His agitation abates once he settles into his seat. His breath condenses on the
cold glass, obscuring his reflection. He leans his head back against the seat, closes
his eyes and lets his mind drift.
The cold air burns his lungs after the heat of the cable car. He winces at the
dying shriek of the dirigible’s turbofans.
The terminal building is crowded with people — passengers arriving and
waiting to leave, relatives come to collect their loved ones or say goodbye. She
stands in the alcove beside the ticket office, solitary amidst the hubbub. His chest
feels like it will burst at the sight of her.
He drinks in the details, missed for so long. Wide blue eyes and a heart-shaped
face, small mouth, pointed chin, a scatter of freckles across her nose and cheeks.
Fair hair, worn loose around her shoulders, kinking to follow the line of her jaw. A
petite frame but well fleshed.
She is taller than she used to be. They got that wrong the first time and he
decided he liked it. Other things have changed too — nose, breasts, ankles, the set
of her eyes — ironing out the flaws of the original.
She doesn’t notice him until he reaches for her. She gives a tiny smile of
recognition, hesitant at meeting the man of her dreams for the first time. Her
memories are fabricated from photos and videos and his own recollections; stolen
from elsewhere to build her a childhood.
He smiles in return and takes her hands in his. Her smile widens in relief and
sudden certainty.
“I’m glad you’re back,” he says. An inane statement, and slightly foolish, since
his joy is plain to see and she is here for the first time.
She says nothing in return. He doesn’t mind at all, he can feel the contentment
that radiates from her.

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