Mithila Review publishes excellent science fiction, fantasy, poetry, reviews, excerpts, and articles from award-winning and emerging writers around the world.
We seek to publish stories that birth creative thought and positive action. Stories that accurately describe our world, and triumph over fear, mistrust and despair. Stories that guide us and the future. Because the world needs saving, and honestly, nothing works better than positive and powerful stories of belief and wonder. Please subscribe or donate to Mithila Review to help us find, curate, publish and spread diverse, original and impactful stories for the borderless citizens.
ISSUE 11: CONTRIBUTORS
Adele Gardner, Avra Margariti, David A. Hewitt, D.A. Xiaolin Spires, Elaine Vilar Madruga, M. Bennardo, Mary Soon Lee, Phoebe Low, Qurat Dar, Timothy Bastek, Toshiya Kamei, Uma Menon & Wren Wallis. Cover art by Edward Hicks (1848).
Mithila Review is inviting submissions for a special global Hopepunk issue of science fiction (and fantasy) devoted to positive and powerful character-driven stories that imagine an open and inclusive tech-empowered democratic future for all people, species and countries on Earth.
Sami Ahmad Khan’s Star Warriors of the Modern Raj: Materiality, Mythology and Technology of Indian Science Fiction
If Suparno Banerjee isolated four aspects with which to understand Indian SF – epistemic base, time of unfolding, space of action, and characters’ identity – in Star Warriors Khan has given us three more – materiality, mythology, and technology – with the additional promise of antekaal and neoMONSTERS possibly adding further critical axes to the discussion in the (hopefully near) future.
The Salvage Crew asks the question of what it means to be a machine, it also brings out answers to what it means to be human, at times through contrast, and at others through overlap.
Star Warriors of the Modern Raj: Materiality, Mythology and Technology of Indian Science Fiction by Sami Ahmad Khan
Sami Ahmad Khan proceeds to take us on a rollercoaster tour of all the fabulous worlds we SF writers have been making in odd corners of the Indian literary scene.
Water began to flood the room. ‘I told you it was a bad idea. The sea eats people.’
When you venture into the past, your clothes
must fit the time, so stick with linens, cottons, wool.
A churning tale of self-discovery, masquerading as a socio-political metaphor, The Wall becomes a story where inter-layered narrative arcs – and themes – fuse.
The keeper who took my voice promised to lock it into a wooden box until it has been properly reviewed. Still, if a good word comes back, I might not recognize it.
We walked there in the twilight and sang skysongs
Our bodies were translucent and full of darkness
How we carried our homeland in our bones
The executioners grill letters and sigils
into every corporal surface,
black butterflies on her nails,
a sponsor, fingers curling like locks of hair
on her head,
ink paintings on her eyes.
A new collection from Penguin attempts to rectify this oversight by restoring some long-overdue recognition to the work of Richard Matheson.
Trees are a way Nature found to connect the ground with the skies. That’s also what we are, the Itumian, we’re a bridge, a connection; we are in-between.
But the undertow was working against him. Matthew could feel it now, streaming out to open sea around and beneath him. Swimming against it was like trying to swim up-river. For every foot he pulled ahead, the water carried him back another two. The shore hovered like a mirage ahead of him, almost drowned out in all the lapping water.
Science, Science Fiction & South Asia: Muhammad Aurangzeb Ahmad in conversation with Sami Ahmad Khan
The more I read and think, the more I become wary of essentializing endeavours and labels, especially those which are transposed to a multidimensional singularity such as SF.
We bring to you this issue so we may confront what Shakespeare described as our “mountainish inhumanity” as we come face-to-face with aliens and strangers in the stories and poems that are to follow.