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Uncanny Magazine 2020 Award Eligibility

It’s the time of year when people post their year-in-reviews to remind voters for the different SF/F awards what’s out there that they might have missed and which categories those stories are eligible in (especially for the Hugo Awards and Nebula Awards). 2020 was the sixth full year of Uncanny Magazine (Issues 32 through 37). We are extremely proud of the year we had.

This year, Uncanny Magazine is still eligible for the Best Semiprozine Hugo Award. Lynne M. Thomas and Michael Damian Thomas are also still eligible for the Best Editor (Short Form) Hugo Award for editing issues 32-37. (Note: If you are nominating the Thomases in this category, please continue to nominate them together. They are a co-editing team.)

The stories listed below are eligible in either the short story or novelette categories of the SF/F awards. If you are a SFWA member nominating for the Nebula Awards, you can find eBook copies of these stories in the SFWA Forums.

Please also note that essays are eligible for the Best Related Work Hugo Award, and poetry is eligible for the Rhysling Award. As Uncanny is a semiprozine, all of the essays and original art also contribute towards the creators’ Best Fan Writer and Best Fan Artist Hugo Award eligibility.


Novelettes (7500-17,500 Words):

Where You Linger by Bonnie Jo Stufflebeam

Burn or The Episodic Life of Sam Wells as a Super by A. T. Greenblatt

The Inaccessibility of Heaven by Aliette de Bodard


Short Stories (Under 7500 Words):

Badass Moms in the Zombie Apocalypse by Rae Carson

You Perfect, Broken Thing by C.L. Clark

My Country Is a Ghost by Eugenia Triantafyllou

And All the Trees of the Forest Shall Clap Their Hands by Sharon Hsu

The Spirit of the Leech by Alex Bledsoe

If Salt Lose Its Savor by Christopher Caldwell

The Sycamore and the Sybil by Alix E. Harrow

So You Want to Be a Honeypot by Kelly Robson

If You Want to Erase Us, You Must Be Thorough by L. Tu

Getaway by Nicole Kornher-Stace

Georgie in the Sun by Natalia Theodoridou

Through the Veil by Jennifer Marie Brissett

A Being Together Amongst Strangers by Arkady Martine

High in the Clean Blue Air by Emma Törzs

Dresses Like White Elephants by Meg Elison

We Chased the Sirens by Suzanne Walker

A Pale Horse by M Evan MacGriogair

A Love Song for Herkinal

as composed by Ashkernas amid the ruins of New Haven by Chinelo Onwualu

Once More Unto the Breach (But Don’t Worry, the Inflatable Swords Are Latex-Free) by Tina Connolly

The World Ends in Salty Fingers and Sugared Lips by Jenn Reese

The Nine Scents of Sorrow by Jordan Taylor

The Ruby of the Summer King by Mari Ness

Anchorage by Samantha Mills

Laws of Impermanence by Kenneth Schneyer

Metal Like Blood in the Dark by T. Kingfisher

Juvenilia by Lavie Tidhar

In The Space of Twelve Minutes by James Yu

The City of the Tree by Marie Brennan

Proof of Existence by Hal Y. Zhang

50 Things Every AI Working with Humans Should Know by Ken Liu

Words We Say Instead by Brit E. B. Hvide

The Bottomless Martyr by John Wiswell
(available Dec 01, 2020)

The Salt Witch by Martha Wells
(available Dec 01, 2020)

The Span of His Wrist by Lee Mandelo
(available Dec 01, 2020)

Hope in Crisis: The Gift of Books– A Guest Post by Ginger Smith

According to Hesiod, Pandora opened a jar unleashing all the world’s evils. Hesiod’s tale is ancient, but I’m not sure 2020 could be much worse than the day Pandora opened that jar. We are faced with a great deal of crises that feels like more than any one person can bear. Similar to Pandora’s story, the world seems to grow darker and darker with every news report. The shadows in front of us make everything more difficult and dismal. It seems as if we have a bingo card of world-wide challenges: climate change, political strife, wildfires, destruction of the rainforest, and coronavirus. Oh, and don’t forget the murder hornets.

However, we must also remember what happened at the end of that story. Hope. Hope was left at the bottom of the box after all the misery had escaped. Hope is a multifaceted gem that sparkles and radiates a light of possibilities that pushes back against the darkness, even in the most desperate of times. This is the very reason authors must go on creating and readers must go on reading.

J.R.R. Tolkien wrote: “Faithless is he that says farewell when the road darkens.” This is the time that people need the hope that books bring. We need the trope of the hero. It’s the reason people have told stories of heroes in all cultures across all of time—hope from hopelessness. Odysseus, Beowulf, Frodo Baggins, Luke Skywalker, T’Challa, Wonder Woman, and Murderbot join thousands of other heroes, both ancient and modern, that light a path through the darkness and show us how to go on when it seems there is no way to win. We need these stories of heroes overcoming great odds, so that we will have the strength to do the same.

I wrote The Rush’s Edge with the hope of heroes in mind. The hero’s journey shaped me as a kid and as an adult, and taught me that even when evil seems to have the upper hand, good people can band together to overcome it. The Rush’s Edge is a story about such people. Their universe, much like ours, is a place full of uncertainty and pitfalls. They struggle to make their way, they find family and forge relationships, and are inexorably drawn into a fight against darkness.

Hal, the main character, is a vat: a genetically modified, technologically enhanced solider who believes he has no hope for the future. Vats usually die chasing the rush that they’re engineered to crave, and Hal expects to have a short life. Together with his former commanding officer, they make a living salvaging technology from crashed ships on the Edge, but when they discover an artifact from an ancient culture, they become the target for a government that wants to silence them at any cost. During the book, there are times that Hal and his companions face the unknown, much like we face the unknown of today. It’s Hal’s connection to his found family that gives him hope and strength to overcome what fate has dealt him and gives him the momentum to do what has to be done.

I’ve been told my novel is a hopeful book. I want it to be. Nothing would make me happier than to know that I can repay the same gift of hope that was given to me by all those space operas and hero stories that I grew up on. I know other authors feel the same way.

The current state of world affairs makes books more important than ever. Books are a unifying force. They inspire courage and bravery in the face of hatred, bigotry, and division. They challenge us to be our best selves. I aspire to more because of the stories that have influenced me. I may not ever have become a Jedi or wielded a sword against Uruk-hai, but I have done those things through my connection with the heroes I’ve read about.

So, in the end, we must read, we must engage, and above all we must have hope. After all, it’s the last thing left in the box.

(You can find out more about The Rush’s Edge from Angry Robot Books here!)

Ginger Smith has worked as a record store employee, freelance writer, bookstore assistant manager and high school teacher of English. In the past, she has played in many tabletop RPG groups and even run several of her own. She collects vintage toys, sci-fi novels and comic books, as well as mid-century furniture. She currently lives in the southern USA with her husband and two cats, spending her free time writing and watching classic film noir and sci-fi movies.




Uncanny Magazine Issue 37 Cover and Table of Contents!

Coming November 3, THE THIRTY-SEVENTH ISSUE OF THE 2016, 2017, 2018, 2019, and 2020 HUGO AWARD-WINNING UNCANNY MAGAZINE!!

All of the content will be available in the eBook version on the day of release.

The free online content will be released in 2 stages- half on day of release and half on December 1.

Don’t forget eBook Subscriptions to Uncanny Magazine are available from Weightless Books and Amazon Kindle, and you can support us on our Patreon!

Uncanny Magazine Issue 37 Table of Contents

Treetops by Julie Dillon

“The Uncanny Valley” by Lynne M. Thomas & Michael Damian Thomas
“Imagining Futures: They’re Trying to Sell You A Haunted House” by Elsa Sjunneson

“50 Things Every AI Working with Humans Should Know” by Ken Liu (11/3)
“Proof of Existence” by Hal Y. Zhang (11/3)
“Words We Say Instead” by Brit E.B. Hvide (11/3)

“The Salt Witch” by Martha Wells (12/1)
“The Span of His Wrist” by Lee Mandelo (12/1)
“The Bottomless Martyr” by John Wiswell (12/1)

“Cerulean Memories” by Maurice Broaddus (12/1)

“Evoking the Gothic: The House That Anxiety Built” by Meghan Ball (11/3)
“Black and White and Red All Over: On the Semiotic Effect of Color (11/3)
Printing in Genre Fiction” by Meg Elison (11/3)

“Traveling Without Moving” by Michi Trota (12/1)
“This Isn’t the End: On Becoming a Writing Parent” by K.A. Doore (12/1)

“Mourning Becomes Jocasta” by Jane Yolen (11/3)
“An Elder Resigns from the Chorus of Oedipus at Colonnus” by Peter Tacy (11/3)
“Cento for Lagahoos” by Brandon O’Brien (11/3)

“Making Accommodations” by Valerie Valdes (12/1)
“The Automaton Falls in Love” by Jennifer Crow (12/1)

Ken Liu Interviewed by Caroline M. Yoachim (11/3)

Lee Mandelo Interviewed by Caroline M. Yoachim (12/1)


Episode 37A (November 3): Editors’ Introduction, “Proof of Existence” by Hal Y. Zhang, as read by Joy Piedmont, “Mourning Becomes Jocasta” by Jane Yolen and “An Elder Resigns from the Chorus of Oedipus at Colonnus,” by Peter Tacy, as read by Erika Ensign, and Lynne M. Thomas interviewing Hal Y. Zhang.

Episode 37B (December 1): Editors’ Introduction, “The Salt Witch” by Martha Wells, as read by Erika Ensign, “Making Accommodations” by Valerie Valdes, as read by Joy Piedmont, and Lynne M. Thomas interviewing Martha Wells.


Tananarive Due’s “Black Horror Rising” Won the Best in Creative Nonfiction Ignyte Award!

Fabulous news, Space Unicorns! Tananarive Due’s “Black Horror Risingwon the Best in Creative Nonfiction Ignyte Award! A huge congratulations to Tananarive!

Once again,  congratulations to Christopher Caldwell, whose “Canst Thou Draw Out the Leviathan” was a finalist for a Best Short Story Ignyte Award, Brandon O’Brien, whose “Elegy for the Self as Villeneuve’s Beast” was a finalist for a Best in Speculative Poetry Ignyte Award, Tamara Jerée, whose “goddess in forced repose” was a Best in Speculative Poetry Ignyte Award finalist, and Uncanny Magazine Interviewer Caroline M. Yoachim, whose “The Archronology of Love” was a Best Novelette Ignyte Award finalist!

It was a fabulous ballot. Congratulations to all of the winners and finalists!

Uncanny Magazine Issue 36 Cover and Table of Contents!

Coming September 1, THE THIRTY-SIXTH ISSUE OF THE 2016, 2017, 2018, 2019, and 2020 HUGO AWARD-WINNING UNCANNY MAGAZINE!!

All of the content will be available in the eBook version on the day of release.

The free online content will be released in 2 stages- half on day of release and half on October 6.

Don’t forget eBook Subscriptions to Uncanny Magazine are available from Weightless Books and Amazon Kindle, and you can support us on our Patreon!

Uncanny Magazine Issue 36 Table of Contents

Connected by Christopher Jones

“The Uncanny Valley” by Lynne M. Thomas & Michael Damian Thomas (9/1)
“Imagining Place: Worldbuilding As” by Elsa Sjunneson (9/1)

“Metal Like Blood in the Dark” by T. Kingfisher (9/1)
“Anchorage” by Samantha Mills (9/1)
“Laws of Impermanence” by Kenneth Schneyer (9/1)

“Juvenilia” by Lavie Tidhar (10/6)
“The City of the Tree” by Marie Brennan (10/6)
“In The Space of Twelve Minutes” by James Yu (10/6)

“The Mouser of Peter the Great” by P. Djèlí Clark (9/1)

“Finding Myself in Speculative Fiction Again After Leaving Other Worlds Behind” by Del Sandeen (9/1)
“The Roots of Hope: Toward an Optimistic Near-Future SF in a Pandemic” by Marissa Lingen (9/1)

“Life, Liberty, and the Pursuit of Excellence” by Nibedita Sen (10/6)
“Sticks and String” by Christopher Mark Rose (10/6)

“Fin” by Terese Mason Pierre (9/1)
“My Cat, He” by Beth Cato (9/1)

“The Body in Revolt” by Rita Chen (10/6)
“As if My Flesh was Summer Soil” by Lora Gray (10/6)

Kenneth Schneyer interviewed by Caroline M. Yoachim (9/1)

Lavie Tidhar interviewed by Caroline M. Yoachim (10/6)


Episode 36A (September 1): “Metal Like Blood in the Dark” by T. Kingfisher, as read by Erika Ensign, “Fin” by Terese Mason Pierre, as read by Joy Piedmont, and Lynne M. Thomas interviewing T. Kingfisher.

Episode 36B (October 6): Editors’ Introduction, “In The Space of Twelve Minutes” by James Yu, as read by Joy Piedmont, “As if My Flesh was Summer Soil” by Lora Gray, as read by Erika Ensign, and Lynne M. Thomas interviewing James Yu.


Dominion Anthology- A Guest Post by Zelda Knight and Oghenechovwe Donald Ekpeki

Zelda Knight

Dominion was born of tragedy, but in many ways, it is one of the greatest blessings in my life. By 2019, I had been running my publishing house AURELIA LEO for four years and counting. I was also extremely burnt out. Truth is, small press publishing is not sustainable without a paying audience, and even for works that sold well, the stress involved in embodying an entire publishing house as one woman was and is exhausting. I was close to closing down my operation altogether to focus on my true passion: opening up a specialty bookstore for Queer, Southern, Trans, Black, Indigenous, and/or other Creators of Color under the banner of horror, science fiction, and fantasy. I was starting to make this shift, continuing to publish novel-length works, while sunsetting a majority of my publication in the process. But then, tragedy struck.

On July 16, 2019, my family survived a grease fire at our home. I sustained flash burns down my left arm and across my face, and my mother suffered full-thickness (3rd degree) burns on around 25% of her body. We all survived, but the scars from the accident and the trauma remain. After a near-death experience, one begins reexamining their life. I found myself wondering why I was sinking so much time and effort into an endeavor that didn’t bring me joy anymore? I’ve always published fiction, poetry, and art from across the spectrum of diversity beyond just race. However, I wanted to focus on something that was connected to my heritage. I gravitated to publishing Black speculative fiction. I needed to create a project rooted in my Christianity, my Blackness, my Womanhood, and all the pieces that make me me.

This anthology came about by picking up the pieces of my life. In my role as a public historian documenting racial violence in the Commonwealth of Kentucky for a documentary project, I came across The 1619 Project, directed by Nikole Hannah-Jones. I was blown away by the collaboration, and wanted to hear from those still living in the continent about 500 years worth of ramifications due to the global African slave trade. Then, I saw a short clip on the internet about The Year of Return sponsored by the Ghanaian government. This is what I was searching for! An explosion of academic and commercial dialogue was happening between Black Americans and the motherland. But how could I contribute? What could I contribute?

The final pieces of the puzzle that became Dominion had already been discovered. I just hadn’t put two and two together just yet. Henrique DLD’s Afrofuturistic artwork, Vagrant knight, became the cover of the untitled anthology project. Then, I tapped my soon-to-be co-editor Oghenechovwe, whose short story, “Ife-Iyoku,” shook me to my core. Aside from The 1619 Project, anthologies like Long Hidden & Hidden Youth, Dark Matter, New Suns, and [email protected] Rising inspired me to virtually reach across the Atlantic and build something unique with my co-editor. We were going to make history in the DIY spirit that made me love small press and micro-press publishing in the first place. The title, taken from Genesis 1:26-31, also embodied that spirit. What worlds would Black and African Diasporic writers send our way? How would they interpret the question, “What is the legacy and the future of Africa and the African Diaspora?”

We opened a call for submissions on a wing and prayer, and the authors and poets who submitted went above and beyond our expectations! We carried that momentum into a very successful Kickstarter campaign. But things have been a bumpy ride ever since. My health issues aside, COVID-19 changed the world as we know it, and has impacted the editorial process in surprising ways. From manufacturing enamel pins to general plummeting revenues all around, now more than ever, I am amazed by the positive response, and monetary support Dominion has received! Despite the hiccups along the way, I still feel like I’m walking in my purpose. During a time of open Black rebellion, we need to be centering Black voices. Both my co-editor and I hope you pick up a copy of Dominion, the first anthology to bridge African and African Diasporic speculative fiction and poetry!

Oghenechovwe Donald Ekpeki

My co-editor, Zelda, first approached me about partnering to make an anthology around July of last year. I had just signed a contract with her to publish my Africanfuturistic short story, “Ife-Iyoku”, in her magazine Selene Quarterly. I would later find out the story was one of the inspirations for the anthology. Thus began our year-long, taxing, but ultimately satisfying collaboration to produce the very first anthology of speculative fiction and poetry with writers from Africa and the African Diaspora!

 I jumped at the chance to co-edit the anthology because it would afford writers on the continent—and beyond—an opportunity to be heard and have their voices amplified. I realized immediately that Dominion offered a lot of benefits for Black and African writers, as well as tackled structural problems. The first problem the anthology solved was payment. Very few magazines or literary journals on the continent pay writers. Despite being a student pursuing her MA at the time—while managing to run a small press on the side—Zelda paid authors, a huge financial commitment. She confirmed that the writers in the anthology would be paid as well. I knew then that she had a strong and healthy respect for creators being paid. Dominion was going to chip away at an endemic problem of unpaid literature on the continent.

The second need the anthology fulfilled that encouraged me to embark on it was the fact that it created a safe space for writers. Dominion would allow their voices to be appreciated by editors, and amplified amidst other works by writers, of the same race. These editors see unfamiliar stories and styles as flawed due to them deviating from American and Western ideals, which are wrongly considered the default standard of quality fiction. So we were two editors, one man, and one woman, Diasporan and continental, as balanced as could be, hoping to do justice to Black and African speculative fiction as much as we could.

Despite a successful crowdfunding campaign, and an outpouring of support from the SFF community, it hasn’t all been a path strewn with roses. Firstly, there’s been quite a bit of queries from certain elements questioning why African speculative fiction and this anthology should exist, asking what the need for it was, and what purpose it served. The fact that people even asked those questions was the very answer to those questions. And, despite exceeding our Kickstarter goals, the funds raised were not for marketing and promotion. So, that had to be done manually and painstakingly by ourselves on social media, using our own unpaid time and limited resources. Sometimes this was disheartening as there’s only Zelda and I. We’re just two people, and the work just could not be done, even when finances weren’t an issue. Sometimes, finances were the issue. There were places we could not go, things we couldn’t do, as a small press.  And, we were unable to work when our devices had issues, and we couldn’t immediately fix or replace them. COVID-19 further complicated things. Due to collapsing revenue, our arrangement with an Italian publishing house to translate the anthology fell through. Anxiety over our health was also a factor as both I and my co-editor have pre-existing conditions.

While we wanted balance by having two editors, it also proved tricky to handle as we were working across continents, time zones, and cultural barriers. Communication was frequently an issue. But we persevered. And despite all these obstacles, I dare say we have created one of the most important speculative fiction books, anthologies of the year. We have gotten press from a number of reputable places, like Den of Geek, and reviews from Quick Sip Reviews, blurbs from some of our favourite authors, and the anthology shows a lot of promise for its coming launch. I hope that it will overall improve the impact and value of Black and African speculative fiction and show writers, as it aims to, that their voices are highly needed and valued in the speculative fiction community.











Zelda Knight writes speculative romance (horror, science fiction, and fantasy). She’s also a cryptozoologist in training. Under the pen name Odyssey Rose, Zelda explores science fiction romance. She pens LGBTQIA+ speculative romance using the pen name Iris Sword. Keep in touch on social media @AuthorZKnight. Or, visit You can also email [email protected]











Oghenechovwe Donald Ekpeki is a Nigerian writer and editor. He has been awarded an honourable mention in the L. Ron Hubbard Writers of the Future Contest, twice. His short story “The Witching Hour,” won the Nommo award for best short story by an African. He has been published in Selene Quarterly, Strange Horizons, Tor, and other venues, and has works forthcoming in several other venues.

He has guest edited and co-edited several publications, including The Selene Quarterly, Invictus Quarterly, and the Dominion Anthology.
He is a member of the African Speculative Fiction Society, Codex, the Horror Writers of America, the British Science Fiction Association, and the Science Fiction and Fantasy Writers of America.
You can find him on Twitter at @penprince_NSA and on his website

An Uncanny Story, 2 Poems, and an Essay Are Ignyte Award Finalists!!!

Fabulous news, Space Unicorns! An Uncanny Magazine story, 2 poems, and an essay are Ignyte Award finalists! Congratulations to Christopher Caldwell! “Canst Thou Draw Out the Leviathan” is a finalist for a Best Short Story Ignyte Award! Congratulations to Brandon O’Brien! “Elegy for the Self as Villeneuve’s Beast” is a finalist for a Best in Speculative Poetry Ignyte Award! Congratulations to Tamara Jerée! “goddess in forced repose” is a Best in Speculative Poetry Ignyte Award finalist! And Congratulations to Tananarive Due! “Black Horror Rising” is a Best in Creative Nonfiction Ignyte Award finalist!

Plus, congratulations to Uncanny Magazine Interviewer Caroline M. Yoachim! “The Archronology of Love” is a Best Novelette Ignyte Award finalist!

It is a fabulous ballot. Congratulations to all of the finalists!

From the Ignyte Award website:

The FIYAHCON 2020 Committee is thrilled to announce the finalists for the inaugural Ignyte Awards. The Awards seek to celebrate the vibrancy and diversity of the current and future landscapes of science fiction, fantasy, and horror by recognizing incredible feats in storytelling and outstanding efforts toward inclusivity of the genre. To that effect, the committee feels that these creators, creations, entities, and perspectives from 2019 represent the brightest lights in speculative fiction’s future. We encourage you to seek out the nominees unfamiliar to you on this list, engage with their works of fiction or acts of community, and to use those experiences to inform your vote.

The short list is derived from 15 BIPOC voters on the FIYAHCON staff, of varying genders, sexualities, cultures, disabilities, and locations throughout the world. They are referred to as the Ignyte Awards Committee. Committee members were not permitted to nominate their own works or works of which they were a part. The Committee was not limited to selections authored or otherwise created by BIPOC. Public voting on the shortlist does not permit write-in nominations. We intend to ask one year’s winners to be part of the subsequent year’s committee to ensure fresh perspectives and to help prevent repeated nominations of the same popular authors as recognized in many other genre awards. Details on that process as well as the longlist and the process of submitting works for consideration will be released after FIYAHCON 2020

Voting is now open to the public through September 11th at 11:59 PM Eastern Time. Click here to vote.

Inquiries can be forwarded to director(at)

Meet Uncanny Magazine’s New Assistant Editor, Naomi Day!

We have some bittersweet news, and some wonderful news, Space Unicorns.

Uncanny Magazine Assistant Editor Angel Cruz is moving on after issue 36. Angel has been with us for over a year and has done a spectacular job, especially with our newsletter. We know Angel will continue to do brilliant things, and we will greatly miss her.

And now for the wonderful news!

Starting with Uncanny Magazine #37 (November/December 2020), the new Assistant Editor will be…

Naomi Day!

Naomi is a fantastic writer and brings a lot of enthusiasm to the position. We can’t wait to start working with her!

Naomi’s Bio:

Naomi Day (she/her) is a queer Black woman who enjoys interrogating the strange ways her mixed-race experience has shaped the way she moves through the world. She primarily writes short Afro-centric futurist fiction, and her work has appeared in Black Warrior Review and The Seventh Wave. She is part of the Clarion West class of 2020/21. She considers herself a lifelong student and much prefers the nomadic life, finding home in cities from Chicago to London.

It was a phenomenal pool of applicants. Thank you to everyone who applied!

Uncanny Magazine Year 7 will be fantastic, Space Unicorns. Though many changes are happening, we will continue to have the BEST STAFF in the universe.

Uncanny Magazine Wins the 2020 Best Semiprozine Hugo Award!

Space Unicorns! We have wonderful news! Uncanny Magazine won its fifth Hugo Award for Best Semiprozine (Publishers/Editors-in-Chief Lynne M. Thomas and Michael Damian Thomas, Managing/Nonfiction Editor Michi Trota, Managing Editor Chimedum Ohaegbu, and Podcast Producers Erika Ensign and Steven Schapansky)! We are deeply honored by this Hugo Award. It was a stellar group of finalists.

A magazine is the work of numerous people, so we want to thank our 2019 regular staff of Michi Trota,  Erika Ensign, Steven Schapansky, Joy Piedmont, Angel Cruz, Chimedum Ohaegbu, and Caroline M. Yoachim; our Disabled People Destroy Fantasy guest editors Nicolette Barischoff, Lisa M. Bradley, and Katharine Duckett. (We want to apologize to them. We accidentally omitted them from our Hugo acceptance speech. They did phenomenal jobs, & we’re so very sorry for not thanking them in our video); all of our submissions editors; all of our contributors; and, of course, our ombudsman and world’s greatest daughter, Caitlin. Thank you to every single member of the Space Unicorn Ranger Corps and all of the Hugo voters. We couldn’t do this without the support of this community.

Once again, congratulations to the three Uncanny Magazine stories that were finalists: “The Blur in the Corner of Your Eye” by Sarah Pinsker for Best Novelette, “Away With the Wolves” by Sarah Gailey (from the Disabled People Destroy Fantasy special issue) for Best Novelette, and “A Catalog of Storms” by Fran Wilde for Best Short Story!

Lynne M. Thomas and Michael Damian Thomas didn’t win the Best Editor- Short Form Hugo Award. A huge congratulations to the winner, Ellen Datlow!

Congratulations to all the Hugo Awards winners and finalists!

Here is our speech!

The Thomases and Pinsker’s Story Are World Fantasy Award Finalists!

Excellent award news, Space Unicorns!

The World Fantasy Award finalists have been announced! “The Blur in the Corner of Your Eye” by Sarah Pinsker is a finalist for the Best Short Story World Fantasy Award! Also, Editors-in-Chief Lynne M. Thomas and Michael Damian Thomas are finalists for the Special Award–Non-Professional World Fantasy Award for their Uncanny Magazine work!  We are thrilled and honored! Congratulations to Sarah and all of the finalists!