ЛИТЕРАТУРНЫЙ ЖУРНАЛ ФАНТАСТИКИ
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Имена и Люди

 «Делать чудо просто: достаточно выбрать направление в жизни и углубиться настолько, насколько позволяет природный талант».
Георгий Александров

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Мы живем в чудесном мире. Чудеса окружают нас повсюду, пропитываю этот мир, и находятся внутри нас. Не бывает «обычных» людей. Каждый из нас уникален по-своему. Достаточно только приглядеться, и обнаружишь неизмеримые сокровища души скрытые под маской обыденности. А бывают такие, кто и вовсе отказались от маски.

 

 

Я разговариваю с польским писателем Анджеем Сапковским в Барселоне, на Европейском конвенте фантастики “Еврокон”, где он является приглашенным почетным гостем. Только что в течение часа пан Анджей отвечал на вопросы полного зала своих поклонников, и теперь ему хочется “промочить горло”. Пан Анджей хорошо говорит на русском, как и еще примерно на восемнадцати иностранных языках. И точно понятно, когда он шутит – пусть даже с абсолютно серьезным выражением лица и в грубоватой форме. Я попыталась передать в интервью характер и юмор этого интересного человека и мастера фэнтези.

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By Andrew Harrison

Michael Moorcock: “I think Tolkien was a crypto-fascist”

Michael Moorcock revolutionised science fiction with symbolism, sex and psychoactive drugs. Now, at 75, he has invented another genre.

You can’t go home again. The last time Michael Moorcock visited Notting Hill – once the countercultural cradle of his dimension-spanning science fantasies and home to the author, his young family and one of his best-loved creations, the polymorphous ­secret agent and flâneur Jerry Cornelius – he “pitched an absolute fit”, according to his Texan wife, Linda. The old, febrile Notting Hill of squats and squalor had long given way to iceberg houses, billionaires’ basements and the well-tended tedium of extreme wealth. The last straw came when Moorcock witnessed a woman getting out of her four-by-four wearing jodhpurs. “He was raving about this,” Linda recalls with amusement.

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Samuel Delany and the Past and Future of Science Fiction

By Peter Bebergal

In 1968, Samuel Delany attended the third annual Nebula Awards, presented by the Science Fiction and Fantasy Writers of America (SFWA). At the ceremony that night, “an eminent member of the SFWA,” as Delany later put it, gave a speech about changes in science fiction, a supposed shift away from old-fashioned storytelling to “pretentious literary nonsense,” or something along those lines. At the previous Nebula Awards, the year before, Delany had won best novel for “Babel-17,” in which an invented language has the power to destroy (his book shared the award with Daniel Keyes’s “Flowers for Algernon”), and earlier on that evening in 1968, Delany had again won best novel, for “The Einstein Intersection,” which tells of an abandoned Earth colonized by aliens, who elevate the popular culture of their new planet into divine myths. Sitting at his table, listening to the speech, Delany realized that he was one of its principal targets. Minutes later, he won another award, this time in the short-story category, for “Aye, and Gomorrah . . . ,” a tale of neutered space explorers who are fetishized back on Earth. As he made his way back to his seat after accepting the award, Isaac Asimov took Delany by the arm, pulled him close, and, as Delany (who goes by the nickname Chip) recalled in his essay “Racism and Science Fiction,” said: “You know, Chip, we only voted you those awards because you’re Negro . . . !” Continue reading

В апреле выходит новая книга рассказов Макса Фрая «О любви и смерти». Сергей Сдобнов поговорил с автором «Лабиринтов Ехо» и бессмертных приключений сэра Макса о возможностях литературы сегодня, о снах как медиуме и человеческих ощущениях.

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