I love short stories, especially clever sci-fi short stories. There’s something about the genre that lends itself to looking through at the world through the lens of what could happen and that makes for some amazing story-telling.
A number of years ago, I got interested in Japanese horror, primarily Koji Suzuki. I wanted to see what The Ring was like in its original incarnation. Awesome, if I may say so myself. I found Suzuki’s work to have a more subtle feel than a lot of traditional American horror. It was a breath of fresh air after blood, gore, and violence of our native horror stories.
None of the works in The Apex Book of World SF: Volume 5 would be classified as horror, but that doesn’t mean that subtlety and sense of another culture was lacking. Maybe it’s just me, but that adds a lot to a story, especially a science fiction story where it should feel like there’s another culture at play. That’s where the magic happens.
As a collection of stories, some resonated with me more than others, but that doesn’t mean they were lacking anything, it just means they didn’t have the same impact as others because reasons.
All in all, if you’re looking for a good collection of sci-fi stories written by international authors and you’re willing to stretch your wings a bit, you might find some absolute gems in here. There are authors representing, among other countries, Japan, Singapore, Zimbabwe, Egypt, Bolivia, and the US and each brings their own culture and ideas with them when they write.
The landmark anthology series of international speculative fiction returns with volume 5 of The Apex Book of World SF. Cris Jurado joins series editor Lavie Tidhar to highlight the best speculative fiction from around the world.
Cyberpunk from Spain, Singapore and Japan; mythology from Venezuela, Korea and First Nations; stories of the dead from Zimbabwe and Egypt, and space wonders from India, Germany and Bolivia. And much more. The fifth volume of the ground-breaking World SF anthology series reveals once more the uniquely international dimension of speculative fiction.
Vina Jie-Min Prasad (Singapore) — “A Series of Steaks”
Daína Chaviano (Cuba, translated by Matthew D. Goodwin) — “Accursed Lineage”
Darcie Little Badger (USA/Lipan Apache) — “Nkásht íí”
T.L. Huchu (Zimbabwe) — “Ghostalker”
Taiyo Fujii (Japan, translated by Jim Hubbert) — “Violation of the TrueNet Security Act”
Vandana Singh (India) — “Ambiguity Machines: An Examination”
Basma Abdel Aziz (Egypt, translated by Elisabeth Jaquette) — “Scenes from the Life of an Autocrat”
Liliana Colanzi (Bolivia, translated by Jessica Sequeira) — “Our Dead World”
Bo-young Kim (South Korea, translated by Jihyun Park & Gord Sellar) — “An Evolutionary Myth”
Israel Alonso (Spain, translated by Steve Redwood) — “You Will See the Moon rRse”
Sara Saab (Lebanon) — “The Barrette Girls”
Chi Hui (China, translated by John Chu) — “The Calculations of Artificials”
Ana Hurtado (Venezuela) — “El Cóndor del Machángara”
Karla Schmidt (Germany, translated by Lara M. Harmon) — “Alone, on the Wind”
Eliza Victoria (Philippines) — “The Seventh”
Tochi Onyebuchi (Nigeria/USA) — “Screamers”
R.S.A. Garcia (Trinidad and Tobago) — “The Bois”
Giovanni De Feo (Italy) — “Ugo”