The Year's Best Science Fiction & Fantasy, 2012

THE YEAR’S BEST SCIENCE FICTION & FANTASY: 2012 EDITION Edited by Rich Horton

For my daughter Melissa, on the occasion of her graduation (Summa Cum Laude!) from Clemson University.

Contents

Introduction, Rich Horton

Ghostweight, Yoon Ha Lee

The Sandal-Bride, Genevieve Valentine

The Adakian Eagle, Bradley Denton

The Sighted Watchmaker, Vylar Kaftan

The Girl Who Ruled Fairyland, For a Little While, Catherynne M. Valente

Walking Stick Fires, Alan DeNiro

Late Bloomer, Suzy McKee Charnas

The Choice, Paul McAuley

East of Furious, Jonathan Carroll

Martian Heart, John Barnes

Pug, Theodora Goss

Rampion, Alexandra Duncan

And Weep Like Alexander, Neil Gaiman

Widows in the World, Gavin J. Grant

Younger Women, Karen Joy Fowler

Canterbury Hollow, Chris Lawson

The Summer People, Kelly Link

Mulberry Boys, Margo Lanagan

The Silver Wind, Nina Allan

Choose Your Own Adventure, Kat Howard

A Small Price to Pay for Birdsong, K.J. Parker

Woman Leaves Room, Robert Reed

My Chivalric Fiasco, George Saunders

The Last Sophia, C.S.E. Cooney

Some of Them Closer, Marissa Lingen

Fields of Gold, Rachel Swirsky

The Smell of Orange Groves, Lavie Tidhar

The Cartographer Wasps and the Anarchist Bees, E. Lily Yu

The Man Who Bridged the Mist, Kij Johnson

Biographies

Recommended Reading

Publication History

About the Editor

INTRODUCTION Rich Horton

Last year I made a point of noticing how many stories—well over half—in this book were from online sources. So it seems natural to revisit the subject this year. Online sources remain strong, though this year only twelve of twenty-nine stories came from them—still a healthy total. (And as I’ve noted before, the distinction can get blurry. Many of the magazines are available electronically—in Kindle editions, for example. And it’s not unusual for an online magazine to publish a print anthology of their stories for a year—Clarkesworld, Lightspeed, and the sadly defunct Zahir all have done this.) Where did the other stories come from? Six came from original anthologies (and one more was published in an original anthology shortly after appearing in a non-genre magazine). Eight came from the traditional genre print magazines—all this year from the so-called “Big Four” SF magazines: Asimov’s, F&SF, Analog, and Interzone. And three came from outside the field: one each from Harper’s, Tin House, and Conjunctions.

What about the other breakdowns of the stories here? Seventeen of the stories are by women (making assumptions about pseudonyms, etc., that may not always hold up, mind you!) Somewhere between thirteen and sixteen—let’s just say half—are science fiction, the rest fantasy. My uncertainty is because a few seem quite ambiguous as to genre. How to treat a case like Kij Johnson’s “The Man Who Bridged the Mist”, set on an unidentified planet (SF?), ruled by an Emperor (fantasy?), about an engineering project (SF?), concerning an implausible seeming river of an unexplained substance called “mist” (fantasy?). I lean towards SF, partly because the story reminded me in some ways of the works of Jack Vance, and had Vance published it it almost certainly would have been considered SF. Or K.J. Parker’s “A Small Price to Pay for Birdsong”? It’s set in what seems vaguely like Earth—indeed Europe—of a few centuries ago, but the geography is not ours. The atmosphere, and the lack of a science fictional maguffin, suggest fantasy, but there’s not a trace of magic, nor of strange beast or monsters (except the human kind). So perhaps one ought to think of it as SF, set in an alternate history for example. (Though it makes no point of any alternate nature to our past.) There a few more stories here set in that SF/fantasy borderland (and not in the so-called “slipstream” region, either). In the end, what does it matter? Categorization is useful in some ways, but often enough it tells us more about the readers and critics doing the sorting than it tells about the writers or the stories. (Indeed I’m sure my brief suggestions about why “The Man Who Bridged the Mist” might be fantasy or SF say plenty about me.)

As for the length breakdowns, last year I noted a relatively low number of novelettes in this book. I thought that a statistical fluke (and reflective of an overall weakish year at that length in the field), and I think this year bears that judgment out—novelettes are back in their usual numbers, pretty much—this year nine stories are between 7500 and 17500 words, the (somewhat artificial) SFWA range for that length. I include four novellas. I could have included several more novellas given the space—but they do fill up a book fast! So I strongly recommend you seek out stories like Catherynne M. Valente’s Silently and Very Fast, K.J. Parker’s Blue and Gold, Lavie Tidhar’s Jesus and the Eightfold Path, Carolyn Ives Gilman’s “The Ice Owl,” Elizabeth Hand’s “Near Zennor,” Robert Reed’s “The Ants of Flanders,” Kristin Livdahl’s A Brood of Foxes, and Mary Robinette Kowal’s “Kiss Me Twice.” Indeed, we have included a generous list of recommended reading in the back of the book—this year as every year, there was an abundance of riches to choose from, many stories I couldn’t fit in this book but which deserve a wider audience.

One of the things I like to keep track of as well is how many newer writers are showing up in my books. This year twelve writers are making their first appearance in one of my anthologies, but that doesn’t mean they are new, of course. I’m fortunate to now be able to feature such brilliant writers as Jonathan Carroll, Bradley Denton, and Suzy McKee Charnas for the first time, but their reputations have long been established. There are also a few writers appearing here for the first time who have been doing exciting work for several years—I’m a bit late to the party, perhaps, with Lavie Tidhar, certainly, and with Nina Allan, who has been doing impressive work, mostly in UK and Irish publications, for a few years. Alan de Niro, Gavin Grant, Chris Lawson, Vylar Kaftan, and Marissa Lingen