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614 <div id="content" class="site-content"> 615 616 <div id="primary" class="content-area"> 617 <main id="main" class="site-main" role="main"> 618 619 620 <header> 621 <h1 class="page-title screen-reader-text">Torque Control</h1> 622 </header> 623 624 625 626 627<article id="post-13712" class="post-13712 post type-post status-publish format-standard hentry category-interviews-roundtables-and-surveys tag-womens-sff-writing"> 628 <header class="entry-header"> 629 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/09/18/a-deeper-magic-paul-march-russell-in-conversation-with-lisa-tuttle/" rel="bookmark">A Deeper Magic: Paul March-Russell in conversation with Lisa Tuttle</a></h1> </header><!-- .entry-header --> 630 <div class="entry-content"> 631 632<p class="wp-block-paragraph">The following is an edited transcript, abridged from the original conversation that closed the BSFA/SFF AGM on 14 June 2026. The event was held online on Zoom. <br /><br /></p> 633 634 635<div class="wp-block-image"> 636<figure class="aligncenter size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/09/my-death.jpg"><img data-attachment-id="13714" data-permalink="https://vector-bsfa.com/2026/09/18/a-deeper-magic-paul-march-russell-in-conversation-with-lisa-tuttle/my-death/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/09/my-death.jpg" data-orig-size="960,1500" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="my death" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/09/my-death.jpg?w=655" width="655" height="1023" src="https://vector-bsfa.com/wp-content/uploads/2026/09/my-death.jpg?w=655" alt="" class="wp-image-13714" style="width:655px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/09/my-death.jpg?w=655 655w, https://vector-bsfa.com/wp-content/uploads/2026/09/my-death.jpg?w=96 96w, https://vector-bsfa.com/wp-content/uploads/2026/09/my-death.jpg?w=192 192w, https://vector-bsfa.com/wp-content/uploads/2026/09/my-death.jpg?w=768 768w, https://vector-bsfa.com/wp-content/uploads/2026/09/my-death.jpg 960w" sizes="(max-width: 655px) 100vw, 655px" /></a><figcaption class="wp-element-caption">Lisa Tuttle, <strong><em>My Death</em></strong> (Vintage Classics, 2026)</figcaption></figure> 637</div> 638 639 640<p class="wp-block-paragraph"><strong>Paul March-Russell:</strong> Iâm honoured to have Lisa Tuttle here to discuss her novella <em>My Death</em>, which was originally published by P.S. Publishing in 2004, reprinted by NYRB Classics, and is now available in a beautiful edition from Vintage. A number of Lisaâs other works are also being reprinted by Valancourt â <em>A Nest of Nightmares</em> and later this year <em>Lost Futures</em>, which was shortlisted for the Arthur C. Clarke Award in 1993. Lisa, itâs a delight to have you here. <em>My Death</em> is a wonderfully intricate work, so Iâm going to be very careful to not give anything away. But what was it that first inspired you to write the novella? </p> 641 642 643 644<p class="wp-block-paragraph"><strong>Lisa Tuttle:</strong> It was a few things that came together. One is that Iâve always been interested in women writers, women artists, particularly women whoâve been sort of forgotten. I canât think who it was, someone like Gail Godwin, who was recently talking about when she was at college, she always felt slightly embarrassed being particularly interested in women writers. It didnât seem right. You were supposed to look at the great writers, and they were all men. Well, Iâm from a slightly younger generation, and I think that by the time I got to college, there <em>
644were</em> women â womenâs writing, womenâs work, womenâs history. The courses were just starting. This was back in 1970. So, I didnât feel this wasnât proper. It was like, no, now is the time to find out about all these forgotten women or the women who havenât been celebrated.</p> 645 646 647 648<p class="wp-block-paragraph">I also read a lot of biographies and autobiographies by women and about women. And at one point, years ago, I thought I might write a biography, but it all seemed a bit too daunting. What suited me better was to write an imaginary biography of an imaginary writer or artist or muse. That was another subject that interested me: women playing the role of muse to a male artist or writer. Iâd recently read a memoir of Robert Graves, canât remember by whom (weâve just moved house so my books are everywhere!). But one of the things was that the author and his wife went to live in Mallorca, and he had a letter of introduction to Graves, who was at that time living with the American poet and critic, Laura Riding, and the stories that he told about her just fascinated me. I was interested in writing about someone whoâd been connected to a more famous male, but had her own talents, more than just being a muse. So, I took elements of Laura Ridingâs life for my imaginary writer, and I began in a kind of semi-autobiographical fashion to write about a woman writer, who would have been around my age at the time.</p> 649 650 651 652<p class="wp-block-paragraph">The writer was widowed which I was not, and am still not, Iâm very happy to say. But she had some of my own characteristics. That was a kind of a tease, in a way, because some of the things were true. I made her be from Texas, going to college in New York, and then coming over to Britain, winding up in Scotland. And the writer that she is interested in is someone she first encountered as a painted female figure, a kind of mythical person. Because that was another element. Iâve recently been going through my old notebooks, and some of the same names were in there from this story Iâve never written. It was called âThe Fountainâ, and there was a Willie Logan and a Hermione, I think, or Hermine. It was a sort of Circe story with a magical fountain and men being turned into animals. But anyway, I never wrote that, but it was something I was thinking about at the same time. And then Pete Crowther invited me to write a novella, and so suddenly I had a reason to write this, because I couldnât really see it as a novel and it was way too complicated for a short story. And, in fact, I didnât even know how it was going to end. When I began writing it, it was really just a character a bit like me researching someone who turns out to still be alive, so she can actually go and interview her, and then finding these rather odd connections or echoes of her life.</p> 653 654 655 656 <a href="https://vector-bsfa.com/2026/09/18/a-deeper-magic-paul-march-russell-in-conversation-with-lisa-tuttle/#more-13712" class="more-link">Continue reading <span class="screen-reader-text">“A Deeper Magic: Paul March-Russell in conversation with Lisa Tuttle”</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 657 658 <footer class="entry-footer"> 659 660 <div class="entry-meta"> 661 <span class="byline"> 662 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 663 <span class="cat-links"> 664 <a href="https://vector-bsfa.com/category/interviews-roundtables-and-surveys/" rel="category tag">interviews, roundtables, and surveys</a> </span><!-- .cat-links --> 665 666 <span class="comments-link"><a href="https://vector-bsfa.com/2026/09/18/a-deeper-magic-paul-march-russell-in-conversation-with-lisa-tuttle/#respond">Leave a comment</a></span><!-- .comments-link --> 667 <span class="published-on"> 668 <a href="https://vector-bsfa.com/2026/09/18/a-deeper-magic-paul-march-russell-in-conversation-with-lisa-tuttle/" rel="bookmark"><time class="entry-date published" datetime="2026-09-18T09:00:00+00:00">September 18, 2026</time><time class="updated" datetime="2026-09-16T19:22:24+00:00">September 16, 2026</time></a> 669 </span> 670 671 </div><!-- .entry-meta --> 672 </footer><!-- .entry-footer --> 673</article><!-- #post-## --> 674 675 676 677<article id="post-13699" class="post-13699 post type-post status-publish format-standard hentry category-articles category-interviews-roundtables-and-surveys category-short-fiction tag-translation"> 678 <header class="entry-header"> 679 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/09/08/jean-paul-l-garnier-interviews-rachel-cordasco/" rel="bookmark">Â Jean-Paul L. Garnier interviews Rachel Cordasco</a></h1> </header><!-- .entry-header --> 680 <div class="entry-content"> 681 <div class="wp-block-image"> 682<figure class="aligncenter size-large is-resized">
682<a href="https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg"><img data-attachment-id="13702" data-permalink="https://vector-bsfa.com/2026/09/08/jean-paul-l-garnier-interviews-rachel-cordasco/out-of-this-world/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg" data-orig-size="500,714" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="Out of this World" data-image-description="" data-image-caption="<p>Rachel S. Cordasco, &#8216;Out of This World: Speculative Fiction in Translation from the Cold War to the New Millennium&#8217; (University of Illinois Press, 2021)</p> 683" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg?w=500" width="500" height="714" src="https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg?w=500" alt="" class="wp-image-13702" style="width:500px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg 500w, https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg?w=105 105w, https://vector-bsfa.com/wp-content/uploads/2026/09/out-of-this-world.jpg?w=210 210w" sizes="(max-width: 500px) 100v
683w, 500px" /></a><figcaption class="wp-element-caption">Rachel S. Cordasco, <strong><em>Out of This World: Speculative Fiction in Translation from the Cold War to the New Millennium</em></strong> (University of Illinois Press, 2021)</figcaption></figure> 684</div> 685 686 687<p class="wp-block-paragraph"><strong>Jean-Paul L. Garnier: What was your initial attraction to works of science fiction in translation, and what made you decide to start reviewing them?</strong></p> 688 689 690 691<p class="wp-block-paragraph"><strong>Rachel Cordasco</strong>: I started reviewing Anglophone science fiction for John DeNardoâs <em>SF Signal</em> in the mid-2010s. One day, he asked if Iâd like to review a work of Chinese science fiction in translationâ<em>The Three-Body Problem</em>. I jumped at the chance and absolutely loved that book. But it was only when he then sent me Jacek Dukajâs <em>The Old Axolotl</em> and Marek Huberathâs <em>Nest of Worlds</em> that I actually started thinking about what it meant that these texts were all translated. I had never thought about <em>where</em> science fiction was written, and I realized that, of course, it was written around the world. This led me to think about what other works of science fiction there were in English translation. I started a list on a personal blog, and before I knew it, I had found dozens of titles. Ten years later, Iâve catalogued thousands of short-form and long-form works of SF in translation. Iâve always loved learning other languages and I read a lot of classics in English translation when I was a teenager, so bringing together two of my favorite thingsâspeculative fiction and translationâmade so much sense. I started asking John to send me as much SFT (science fiction in translation) as he could, and then, when <em>SF Signal</em> shut down, I started my own site dedicated to SFT.</p> 692 693 694 695<p class="wp-block-paragraph"><strong>JPG: In the ten years since founding</strong> <a href="https://www.sfintranslation.com/"><strong>https://www.sfintranslation.com/</strong></a> <strong>what are some of the most interesting things that youâve learned, and some of the biggest gaps in the field that youâve identified?</strong></p> 696 697 698 699<p class="wp-block-paragraph"><strong>RC</strong>: One of the most surprising things I learned is that there is <em>so much</em> SFT out there. Early science fiction texts, especially from Western Europe in the late-19<sup>th</sup> and early-20<sup>th</sup> centuries, were being translated into English very quickly (though apparently not very accurately, in some cases, ahem ahem Jules Verneâs stories). When you start looking into the speculative novels, anthologies, and collections that were published in translation throughout the 20<sup>th</sup> century, you find that so many of these books just flew under the radar or went out of print quickly. This process of finding and cataloging as much SFT as I can is basically my way of excavating items that arenât buried but just hidden in plain sight.</p> 700 701 702 703<p class="wp-block-paragraph">Iâve learned that Japanese science fiction developed at warp speed following the American occupation of the island following World War Two; Iâve learned that giants of American golden age science fiction like Isaac Asimov and Theodore Sturgeon wrote introductions to anthologies of Russian science fiction at the height of the Cold War; and Iâve learned that, despite the fact that so much speculative fiction has been translated into English, the Anglophone genre world has mostly (except for the 70s and 80s) ignored SFTâ¦until recently. Hopefully, the tide is shifting once again toward SFT and more speculative fiction readers will learn about what people are writing and thinking about around the world.</p> 704 705 706 707 <a href="https://vector-bsfa.com/2026/09/08/jean-paul-l-garnier-interviews-rachel-cordasco/#more-13699" class="more-link">Continue reading <span class="screen-reader-text">” Jean-Paul L. Garnier interviews Rachel Cordasco”</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 708 709 <footer class="entry-footer"> 710 711 <div class="entry-meta"> 712 <span class="byline">
713 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 714 <span class="cat-links"> 715 <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a>, <a href="https://vector-bsfa.com/category/interviews-roundtables-and-surveys/" rel="category tag">interviews, roundtables, and surveys</a>, <a href="https://vector-bsfa.com/category/short-fiction/" rel="category tag">short fiction</a> </span><!-- .cat-links --> 716 717 <span class="comments-link"><a href="https://vector-bsfa.com/2026/09/08/jean-paul-l-garnier-interviews-rachel-cordasco/#respond">Leave a comment</a></span><!-- .comments-link --> 718 <span class="published-on"> 719 <a href="https://vector-bsfa.com/2026/09/08/jean-paul-l-garnier-interviews-rachel-cordasco/" rel="bookmark"><time class="entry-date published updated" datetime="2026-09-08T17:41:49+00:00">September 8, 2026</time></a> 720 </span> 721 722 </div><!-- .entry-meta --> 723 </footer><!-- .entry-footer --> 724</article><!-- #post-## --> 725 726 727 728<article id="post-13685" class="post-13685 post type-post status-publish format-standard hentry category-academic-articles category-elsewhere category-science-and-technology category-short-fiction tag-african-sf tag-africanfuturism tag-book"> 729 <header class="entry-header"> 730 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/08/18/applied-african-sf-volume-1/" rel="bookmark">Applied African SF: Volume 1</a></h1> </header><!-- .entry-header --> 731 <div class="entry-content"> 732 733<h3 class="wp-block-heading"><em>Applied African SF</em> book is out now! </h3> 734 735 736 737<h4 class="wp-block-heading">It is available to share and download at <a href="https://bit.ly/AppliedAfricanSF">bit.ly/AppliedAfricanSF</a>. </h4> 738 739 740 741<p class="wp-block-paragraph">Produced in collaboration with <em>Vector. </em></p> 742 743 744<div class="wp-block-image"> 745<figure class="aligncenter size-large is-resized"><a href="https://bit.ly/AppliedAfricanSF"><img data-attachment-id="13686" data-permalink="https://vector-bsfa.com/2026/08/18/applied-african-sf-volume-1/aasf_cover-final-lowres-1/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg" data-orig-size="1754,2481" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="AASF_Cover-Final-LowRes (1)" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=724" width="724" height="1024" src="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=724" alt="" class="wp-image-13686" style="aspect-ratio:0.7070344491104567;width:561px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=724 724w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=1448 1448w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=106 106w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=212 212w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=768 768w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf_cover-final-lowres-1.jpg?w=1440 1440w" sizes="(max-width: 724px) 100vw, 724px" /></a></figure> 746</div> 747 748<div class="wp-block-image"> 749<figure class="aligncenter size-large is-resized"><a href="https://bit.ly/AppliedAfricanSF" target="_blank" rel=" noopener"><img data-attachment-id="13693" data-permalink="https://vector-bsfa.com/2026/08/18/applied-african-sf-volume-1/aasf-book-flyer_page_2/" data-orig-file="https://vector-bsfa.com/w
749p-content/uploads/2026/08/aasf-book-flyer_page_2.jpg" data-orig-size="877,1241" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="AASF book flyer_Page_2" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg?w=724" loading="lazy" width="724" height="1024" src="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg?w=724" alt="" class="wp-image-13693" style="aspect-ratio:0.7070437984799812;width:566px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg?w=724 724w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg?w=106 106w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg?w=212 212w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg?w=768 768w, https://vector-bsfa.com/wp-content/uploads/2026/08/aasf-book-flyer_page_2.jpg 877w" sizes="auto, (max-width: 724px) 100vw, 724px" /></a></figure> 750</div> </div><!-- .entry-content --> 751 752 <footer class="entry-footer"> 753 754 <div class="entry-meta"> 755 <span class="byline"> 756 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 757 <span class="cat-links"> 758 <a href="https://vector-bsfa.com/category/articles/academic-articles/" rel="category tag">academic articles</a>, <a href="https://vector-bsfa.com/category/elsewhere/" rel="category tag">elsewhere</a>, <a href="https://vector-bsfa.com/category/science-and-technology/" rel="category tag">science and technology</a>, <a href="https://vector-bsfa.com/category/short-fiction/" rel="category tag">short fiction</a> </span><!-- .cat-links --> 759 760 <span class="comments-link"><a href="https://vector-bsfa.com/2026/08/18/applied-african-sf-volume-1/#respond">Leave a comment</a></span><!-- .comments-link --> 761 <span class="published-on"> 762 <a href="https://vector-bsfa.com/2026/08/18/applied-african-sf-volume-1/" rel="bookmark"><time class="entry-date published" datetime="2026-08-18T13:55:01+00:00">August 18, 2026</time><time class="updated" datetime="2026-08-18T13:58:46+00:00">August 18, 2026</time></a> 763 </span> 764 765 </div><!-- .entry-meta --> 766 </footer><!-- .entry-footer --> 767</article><!-- #post-## --> 768 769 770 771<article id="post-13649" class="post-13649 post type-post status-publish format-standard hentry category-art category-articles category-editorials category-uncategorized tag-games tag-zoefuturism"> 772 <header class="entry-header"> 773 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/08/07/zoefuturism-in-creative-practice-responses/" rel="bookmark">Zoefuturism in creative practice: responses</a></h1> </header><!-- .entry-header --> 774 <div class="entry-content"> 775 776<h2 class="wp-block-heading">Introduction by Yen Ooi and Stephen Oram</h2> 777 778 779 780<p class="wp-block-paragraph">When we started thinking about the call for articles last year, we wanted to approach it in a Zoefuturistic manner â by giving space and creating opportunities for the issue(s) and articles to âbecome.â As a new topic, we were very aware that this is a process of exploration and discovery, more than a call to enforce and curate what we think Zoefuturism is. It needed to be reflective and malleable. </p> 781 782 783 784<p class="wp-block-paragraph">In this article, we will look at three of these creative reflections of Zoefuturism through different lenses: </p> 785 786 787 788<ul class="wp-block-list"> 789<li><em>Compost Futures</em> by the London Science Fiction Research Community Co-Directorate</li> 790 791 792 793<li><em>Station to Station</em> by Goblin Futures</li> 794 795 796 797<li>âNarrative Structures and Zoefuturismâ by Christopher Morrison</li> 798</ul> 799 800 801 802<p class="wp-block-paragraph">While all three pieces explore very different topics and perspectives, they are all reflections of Zoefuturism through practitionersâ creative action, and they form a Zoefuturistic response, as reactions to the introduction of Zoefuturism, playing with the ideas of our futures through relationality and constant becomings.</p> 803 804 805 806<hr class="wp-block-separator has-alpha-channel-opacity" /> 807 808 809<div class="wp-block-image"> 810<figure class="aligncenter size-large">
810<a href="https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg"><img data-attachment-id="13651" data-permalink="https://vector-bsfa.com/2026/08/07/zoefuturism-in-creative-practice-responses/compost_futures_1-e1775491263556/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg" data-orig-size="708,407" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="compost_futures_1-e1775491263556" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg?w=708" loading="lazy" width="708" height="407" src="https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg?w=708" alt="" class="wp-image-13651" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg 708w, https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg?w=150 150w, https://vector-bsfa.com/wp-content/uploads/2026/06/compost_futures_1-e1775491263556.jpg?w=300 300w" sizes="auto, (max-width: 708px) 100vw, 708px" /></a></figure> 811</div> 812 813 814<p class="wp-block-paragraph"><em><a href="https://www.lsfrc.co.uk/zines/compost-futures-as-zine-as-more-than-human-practice/">Compost Futures</a></em> by the London Science Fiction Research Community (LSFRC). This creative-critical submission, in the form of a full zine, was made by the co-directorate of the LSFRC to explore questions around the relationships between humans with the other-than-human through the idea of âcompost,â inspired by Zoefuturism. Follow the link to read and explore the articles and artworks, and to learn how co-authoring a zine with nature turned out.</p> 815 816 817 818<hr class="wp-block-separator has-alpha-channel-opacity" /> 819 820 821 822<p class="wp-block-paragraph"><em>Station to Station </em>by Goblin Futures (<a href="https://goblin-futures.itch.io/station-to-station">https://goblin-futures.itch.io/station-to-station</a>). </p> 823 824 825<div class="wp-block-image"> 826<figure class="aligncenter size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png"><img data-attachment-id="13542" data-permalink="https://vector-bsfa.com/2026/05/29/a-fishpunk-game-station-to-station/screenshot-2025-09-22-at-17-55-53/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png" data-orig-size="1288,1826" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="Screenshot 2025-09-22 at 17.55.53" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png?w=722" loading="lazy" width="722" height="1023" src="https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png?w=722" alt="" class="wp-image-13542" style="width:490px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png?w=722 722w, https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png?w=106 106w, https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png?w=212 212w, https://vector-bsfa.com/w
826p-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png?w=768 768w, https://vector-bsfa.com/wp-content/uploads/2026/05/screenshot-2025-09-22-at-17.55.53.png 1288w" sizes="auto, (max-width: 722px) 100vw, 722px" /></a></figure> 827</div> 828 829 830<figure class="wp-block-embed is-type-wp-embed is-provider-embed wp-block-embed-embed"><div class="wp-block-embed__wrapper"> 831<blockquote class="wp-embedded-content" data-secret="ZimKirIQSq"><a href="https://vector-bsfa.com/2026/05/29/a-fishpunk-game-station-to-station/">A fishpunk game: Station to Station</a></blockquote><iframe loading="lazy" class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“A fishpunk game: Station to Station” — " src="https://vector-bsfa.com/2026/05/29/a-fishpunk-game-station-to-station/embed/#?secret=AvHxR3DPok#?secret=ZimKirIQSq" data-secret="ZimKirIQSq" width="600" height="338" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe> 832</div></figure> 833 834 835 836<p class="wp-block-paragraph">*Fishpunk is something we made up, not a pre-existing genre. In other words, <em>Station to Station</em> is fishpunk, and anything else people want to consider fishpunk they can, just as long as it is Approved By Fish.</p> 837 838 839 840<p class="wp-block-paragraph">**Weirdhope is a term coined by<a href="https://www.copypastecoop.com"> COPY/PASTE CO-OP</a>, which they describe as a form of eco-punk that is stylistically and thematically opposed to grimdark. For more, you can check out their game <em>ECO MOFOS!!</em> or the webpage for the<a href="https://boningtongallery.co.uk/event/weird-hope-engines/"> Weird Hope Engines</a> exhibition that ran in the Bonington Gallery in 2025.</p> 841 842 843 844<hr class="wp-block-separator has-alpha-channel-opacity" /> 845 846 847 848<h2 id="narrative-structure" class="wp-block-heading"><strong><a href="#narrative-structure">Narrative Structures and Zoefuturism</a></strong></h2> 849 850 851 852<p class="wp-block-paragraph"><strong>By Christopher Morrison</strong></p> 853 854 855 856<p class="wp-block-paragraph"></p> 857 858 859 860<p class="wp-block-paragraph" id="narrative-structures">In the West<sup><a href="#ftnt1" id="ftnt_ref1">[1]</a></sup> there is one story structure primarily taught to readers and practitioners alike. The Aristotelean 3-Act Structure/The Heroâs Journey. Iâm well aware thatâs <em>two</em> structures, but they are so inter-linked now as to be extensions of one another. And, most importantly, they share a core philosophical purpose. That purpose: re-enforce Heroic Individualism. The Protagonist must be the one to solve the problem. They, and only THEY. Some assistance is rendered along the way, but in the climax, it is them and them alone (usually smashing) their way to the end. And that end as a teleological conclusion forgives (or ignores) all things that came before.</p> 861 862 863 864<p class="wp-block-paragraph">Anything else is considered a âsubversion ofâ or âbreaking the rulesâ. But, as Matthew Salsess asks, âWho writes those rules?â (Salesses, Matthew. <em>Craft in the Real World: Rethinking Fiction Writing and Workshopping</em>. New York: Catapult, 2021.) It is the dominant culture in the West. Patriarchal, white supremacist<sup><a href="#ftnt2" id="ftnt_ref2">[2]</a></sup>, heteronormative. Those values that hold up a human being⦠all at once illustrating the protagonist as special <em>and</em> the norm. The storyâs purpose is to make them a static, fixed Hero.</p> 865 866 867 868<p class="wp-block-paragraph">So, if this structure serves to support the Culture of Being in the West, what structures could support a culture of Becoming from Asian Cultures not shackled to the mast of Individualism?<sup><a href="#ftnt3" id="ftnt_ref3">[3]</a></sup> What structures could a writer creating in a Zoefuturist context rely on to illustrate Human Becoming and relieve their woes about what comes next in their story?</p> 869 870 871 872<p class="wp-block-paragraph">Taking a cue from the absolute basic root of Dr. Amesâ work and the language he is immer
872sed in, letâs look at <em>ShengSheng</em> (çç) â Procreativity. This word Dr. Ames presents as a crucial part of the early Cosmology of Confucian thought<sup><a href="#ftnt4" id="ftnt_ref4">[4]</a></sup> and gives us a perfect jumping-off point: </p> 873 874 875 876<p class="wp-block-paragraph">Repetition.</p> 877 878 879 880<p class="wp-block-paragraph">We all understand one of the crushing features of humanity is the repetition of life. Buddhism tackles this issue with the simple mantra: âBefore enlightenment: chop wood, carry water. After enlightenment: chop wood, carry water.â The road to human becoming must run directly through repetition just as the word and pictogram in Chinese suggests in its very form.</p> 881 882 883 884<p class="wp-block-paragraph">However, the West abhors repetition<sup><a href="#ftnt5" id="ftnt_ref5">[5]</a></sup> (except in cases of utter personal sacrifice to the destruction of oneself<sup><a href="#ftnt6" id="ftnt_ref6">[6]</a></sup>) and worships at the feet of novelty.<br>New or perish! You are only as good as your last ____!</p> 885 886 887 888<p class="wp-block-paragraph">Yet repetition itself holds true meaning-making. True becoming. But in Western storytelling itâs relegated to a âcallbackâ or some âcommentâ on one form or another and not the core engine to drive story and meaning.</p> 889 890 891 892<p class="wp-block-paragraph">Letâs explore a few structures where repetition is the heart and engine of its purpose.</p> 893 894 895 896<p class="wp-block-paragraph">Spirals: first brought to my attention through the work of Jane Alison.<sup><a href="#ftnt7" id="ftnt_ref7">[7]</a></sup> Humans are pattern recognition machines, therefore to create a literary or dramatic spiral one repeats meaning by bringing back a panoply of artistic resources. Place, character(s), theme(s), color, etc. Most powerful in the resource kit is repeating <em>events</em> in your story. What one may lose in novelty one gains in grounding your audience â their pattern recognition (and their simple act of becoming themselves â living life) brings the repetition to awareness and, if done well, the question â Why? Why repeat this now? Here? Or the repetition simply becomes the Breath of the narrative. Inhaling on return â exhaling on leaving â or vice versa. It is a structure that is close to life itself.</p> 897 898 899 900<p class="wp-block-paragraph">While not a Zoefuturist film, letâs look at Wong Kar-Waiâs <em>In the Mood for Love (Wong Kar-wai, dir. In the Mood for Love. Block 2 Pictures, 2000)</em>. A love story where its lovers are not allowed to consummate their love⦠or even say the word to each other. They are married to others while falling in love with each other. It is primarily a Spiral of place. Hallway, stairway, alleyway. All intermediate places â not defined. Not of themselves, but conduits to other locations. Perfect locations for a relationship that isnât formed â isnât one or the other. The characters are also suspended; neither really married nor free; not in love, but in love. Repetitions of their own conditions. The continuous use of smoke as a repeated image in the film is powerful. Sure, it looks damn cool, but itâs neither solid nor liquid. Neither here nor there⦠just slowly looping around itself and evaporating. Repeating. Spiraling.</p> 901 902 903 904<p class="wp-block-paragraph">Next, weâll look at ânestedâ structure.</p> 905 906 907 908<p class="wp-block-paragraph">Mainly known from the <em>1001 Arabian Nights </em>and the film <em>Rashomon. </em>Nested stories are stories-within-stories without being anthology or connected episodic in nature. Story layers. Characters may re-appear, settings may re-appear<sup><a href="#ftnt8" id="ftnt_ref8">[8]</a></sup> but what certainly repeats is theme and/or a central question or as Henry Lien likes to point out: <em>culture</em><sup><a href="#ftnt9" id="ftnt_ref9">[9]</a></sup>.</p> 909 910 911 912<p class="wp-block-paragraph">Again, hereâs a structure that reflects lifeâs journey. We are stories-within-stories. We hold our story, our familyâs story, we are minor or major characters in everyoneâs stories that surround us. And otherâs stories can affect us directly or indirectly if we appear in them or not. As Dr. Ames points out through Zoetological philosophy we are ââ¦interdependent human âbecomingsâ rather than discreet human beings⦠[through a relational understanding].<sup><a href="#ftnt10" id="ftnt_ref10">[10]</a></sup>â</p> 913 914 915 916<p class="wp-block-paragraph"><br>Nested structure allows writers to sift through the depth of our humanity all in one frame. The flow of this structure is the essence of interconnected âbecomingâ. Again, like life, the more we lift the lid and interact with the depths and layers underneath the more meaning and interconnectedness we experience.</p> 917 918 919 920<p class="wp-block-paragraph">In conclusion, âspiralâ and ânestedâ narrative structures are available to writers of every form and genre, but are especially powerful in a Zoetological and/or Zoefuturist context. They allow for a direct reflection into the bones of the work and to elevate stories from a single individualist journey into the wider world-view of human becomings. By leaving behind the strictures of Western storytelling obsessions we can imagine and enact a more interconnected future.</p> 921 922 923 924<hr class="wp-block-separator has-alpha-channel-opacity" /> 925 926 927 928<p class="wp-block-paragraph"><a href="#ftnt_ref1" id="ftnt1">[1]</a> Excluding Indigenous cultures.</p> 929 930 931 932<p class="wp-block-paragraph"><a href="#ftnt_ref2" id="ftnt2">[2]</a> Colonial, <em>at best.</em></p> 933 934 935 936<p class="wp-block-paragraph"><a href="#ftnt_ref3" id="ftnt3">[3]</a> This is where Iâll ask you to forgive me. Iâm a practitioner and n
936ot a scholar, perhaps others have done this work â I look forward to hearing about them if so⦠Henry Lienâs work comes to mind.</p> 937 938 939 940<p class="wp-block-paragraph"><a href="#ftnt_ref4" id="ftnt4">[4]</a> Ames, R. T. (2025). <em>Living Chinese Philosophy: Zoetology as First Philosophy</em> (p.â¯8). State University of New York Press.</p> 941 942 943 944<p class="wp-block-paragraph"><a href="#ftnt_ref5" id="ftnt5">[5]</a> To the point: In an early screenwriting class the âwisdomâ of <em>never</em> repeating a location was handed down to me. (This was the working philosophy of a high-powered producer and their thoughts on scriptwriting.)</p> 945 946 947 948<p class="wp-block-paragraph"><a href="#ftnt_ref6" id="ftnt6">[6]</a> Puritan work ethic for example. Or (especially for women) the carer role taken to its extreme⦠it is lauded and pitied and ridiculed all at once.</p> 949 950 951 952<p class="wp-block-paragraph"><a href="#ftnt_ref7" id="ftnt7">[7]</a> Alison, J. (2019). <em>Meander, Spiral, Explode: Design and Pattern in Narrative</em> (p.â¯143). Catapult.</p> 953 954 955 956<p class="wp-block-paragraph"><a href="#ftnt_ref8" id="ftnt8">[8]</a> Or remain the same as with <em>Rashomon</em>.</p> 957 958 959 960<p class="wp-block-paragraph"><a href="#ftnt_ref9" id="ftnt9">[9]</a> Lien, H. (2025). <em>Spring, summer, asteroid, bird: The art of Eastern storytelling</em> (1st ed.). W.â¯W. Norton & Company.</p> 961 962 963 964<p class="wp-block-paragraph"><a href="#ftnt_ref10" id="ftnt10">[10]</a> Ames, R. T. (2025). <em>Living Chinese Philosophy: Zoetology as First Philosophy</em> (p.â¯8). State University of New York Press.</p> 965 966 967 968<p class="wp-block-paragraph"></p> 969 </div><!-- .entry-content --> 970 971 <footer class="entry-footer"> 972 973 <div class="entry-meta"> 974 <span class="byline"> 975 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 976 <span class="cat-links"> 977 <a href="https://vector-bsfa.com/category/art/" rel="category tag">art</a>, <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a>, <a href="https://vector-bsfa.com/category/articles/editorials/" rel="category tag">editorials</a>, <a href="https://vector-bsfa.com/category/uncategorized/" rel="category tag">uncategorized</a> </span><!-- .cat-links --> 978 979 <span class="comments-link"><a href="https://vector-bsfa.com/2026/08/07/zoefuturism-in-creative-practice-responses/#respond">Leave a comment</a></span><!-- .comments-link --> 980 <span class="published-on"> 981 <a href="https://vector-bsfa.com/2026/08/07/zoefuturism-in-creative-practice-responses/" rel="bookmark"><time class="entry-date published" datetime="2026-08-07T17:53:49+00:00">August 7, 2026</time><time class="updated" datetime="2026-08-11T21:27:58+00:00">August 11, 2026</time></a> 982 </span> 983 984 </div><!-- .entry-meta --> 985 </footer><!-- .entry-footer --> 986</article><!-- #post-## --> 987 988 989 990<article id="post-13643" class="post-13643 post type-post status-publish format-standard hentry category-articles tag-climate-change tag-solarpunk tag-zoefuturism"> 991 <header class="entry-header"> 992 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/07/30/dreams-of-arcadia-zoefuturism-and-the-re-enchantment-of-the-deep-self/" rel="bookmark">Dreams of Arcadia: Zoefuturism and the Re-Enchantment of the Deep Self </a></h1> </header><!-- .entry-header --> 993 <div class="entry-content"> 994 995<h2 class="wp-block-heading">By Kiti McGlashan</h2> 996 997 998 999<p class="wp-block-paragraph">As meaning-seeking beings, we live in alternating cycles of embracing or fearing the natural world. Literature offers a good framework for observing this ancient and ongoing âbattleâ for the human spirit between the manifestation of our reverence and stewardship of nature and our fear of something that could so easily kill us. As industrialisation moved us further away from nature, and humans started living almost completely dis-attached from the natural world, we saw a resurgence of the need to find belonging in the greater order. The last two hundred years have presented a shift in our attitudes towards our surroundings and an influx of philosophies and literature that try to reconnect humans with
999nature.</p> 1000 1001 1002 1003<p class="wp-block-paragraph">Environmentalism has clearly entered the focus of modern worries, but it often presents shortsighted forms that ignore the bigger picture. By focusing on the more immediate and visible concerns, environmental campaigns often prioritise narrow objectives while overlooking the negative structural downside of some of the green politics (e.g. “green colonialism). The climate crisis and the development of the Anthropocene as a theoretical background for our concerns are lacking in a holistic outlook of reality and often showcase similar dangers as our previous attitudes towards the natural world. While there is a rising concern about the land, it is through an anthropocentric point of view. As long as we keep seeing ourselves as separate to the non-human lifeworld, we will live incomplete existences, and our solutions will be forever lacking. What is needed is âa futurism of connectedness, engagement, and relationality, a futurism of âlife-becomingsââ (Ooi, n.d.). And this reflection on the need for interconnectedness has recently been championed by new subgenres of science fiction.</p> 1004 1005 1006<div class="wp-block-image"> 1007<figure class="alignleft size-large"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg"><img data-attachment-id="13645" data-permalink="https://vector-bsfa.com/2026/07/30/dreams-of-arcadia-zoefuturism-and-the-re-enchantment-of-the-deep-self/metro/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg" data-orig-size="346,522" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="metro" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg?w=346" loading="lazy" width="346" height="522" src="https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg?w=346" alt="" class="wp-image-13645" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg 346w, https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg?w=99 99w, https://vector-bsfa.com/wp-content/uploads/2026/06/metro.jpg?w=199 199w" sizes="auto, (max-width: 346px) 100vw, 346px" /></a></figure> 1008</div> 1009 1010 1011<p class="wp-block-paragraph">Storytelling has always been a mirror to the soul of humanity. It focuses the collective emotions and concerns in a metaphorical and philosophical format that offers more than simple escapism. Up until now, science fiction in particular has offered the best platform where the concerns of our present and future are laid out in the format of cautionary tales of how our environmental damage leads to post-apocalyptic scenarios. There are countless examples of stories focused on ecological collapse such as <em>The First and Last Men</em> by Olaf Stapledon that explores humanityâs eventual extinction, the dystopian future of <em>Metro 2033 </em>by Dmitry Glukhovsky where humanity is almost extinct and earth ravaged by radiation, <em>The Road</em> by Cormac McCarthy that is set in a post-apocalyptic setting following a cataclysmic event, the grimdark world of the <em>Warhammer 40K </em>universe where after the AI wars mankind is plummeted into a dark universe of chaos and death. These are just some examples out of a very vast body of literature which express the climate anxiety our society feels.</p> 1012 1013 1014 1015 <a href="https://vector-bsfa.com/2026/07/30/dreams-of-arcadia-zoefuturism-and-the-re-enchantment-of-the-deep-self/#more-13643" class="more-link">Continue reading <span class="screen-reader-text">“Dreams of Arcadia: Zoefuturism and the Re-Enchantment of the Deep Self “</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 1016 1017 <footer class="entry-footer"> 1018 1019 <div class="entry-meta"> 1020 <span class="byline">
1021 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 1022 <span class="cat-links"> 1023 <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a> </span><!-- .cat-links --> 1024 1025 <span class="comments-link"><a href="https://vector-bsfa.com/2026/07/30/dreams-of-arcadia-zoefuturism-and-the-re-enchantment-of-the-deep-self/#comments">1 Comment</a></span><!-- .comments-link --> 1026 <span class="published-on"> 1027 <a href="https://vector-bsfa.com/2026/07/30/dreams-of-arcadia-zoefuturism-and-the-re-enchantment-of-the-deep-self/" rel="bookmark"><time class="entry-date published" datetime="2026-07-30T14:45:46+00:00">July 30, 2026</time><time class="updated" datetime="2026-06-24T17:51:18+00:00">June 24, 2026</time></a> 1028 </span> 1029 1030 </div><!-- .entry-meta --> 1031 </footer><!-- .entry-footer --> 1032</article><!-- #post-## --> 1033 1034 1035 1036<article id="post-13665" class="post-13665 post type-post status-publish format-standard hentry category-calls-for-submissions-invitations-and-opportunities tag-cfps tag-game-design tag-game-studies tag-games tag-games-and-gaming"> 1037 <header class="entry-header"> 1038 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/07/28/new-call-for-proposals-play/" rel="bookmark">New Call for Proposals: Play</a></h1> </header><!-- .entry-header --> 1039 <div class="entry-content"> 1040 1041<h2 class="wp-block-heading has-text-align-center"><strong>CfP Vector 304 – Play </strong></h2> 1042 1043 1044<div class="wp-block-image"> 1045<figure class="aligncenter size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/07/image.png"><img data-attachment-id="13666" data-permalink="https://vector-bsfa.com/2026/07/28/new-call-for-proposals-play/image-95/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/07/image.png" data-orig-size="1536,864" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/07/image.png?w=1024" loading="lazy" width="1024" height="576" src="https://vector-bsfa.com/wp-content/uploads/2026/07/image.png?w=1024" alt="" class="wp-image-13666" style="aspect-ratio:1.7777777777777777;width:624px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/07/image.png?w=1024 1024w, https://vector-bsfa.com/wp-content/uploads/2026/07/image.png?w=150 150w, https://vector-bsfa.com/wp-content/uploads/2026/07/image.png?w=300 300w, https://vector-bsfa.com/wp-content/uploads/2026/07/image.png?w=768 768w, https://vector-bsfa.com/wp-content/uploads/2026/07/image.png?w=1440 1440w, https://vector-bsfa.com/wp-content/uploads/2026/07/image.png 1536w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></a><figcaption class="wp-element-caption"><em>The Three-Body Problem</em> (Netflix, 2024)</figcaption></figure> 1046</div> 1047 1048 1049<p class="wp-block-paragraph">Enfolding world-building, community-making, and problem solving, the act of play is itself a powerful act of speculation. It can offer entertainment or education. It encourages, or sometimes sidesteps, empathy. It draws attention to the ways that stories are constructed and how we experience them. </p> 1050 1051 1052 1053<p class="wp-block-paragraph">In the context of video games, <a href="https://blog.playstation.com/2026/07/01/physical-disc-production-ending-in-january-2028-for-new-games-releasing-on-playstation-consoles/">the recent announcement by Sony</a> that it will halt production of physical game discs by 2028âand the attendant backlash from the gaming communityâencourages us to think about physical vs. digital media and legacy access, and how economics factors into <em>how</em> we play, and for how long. Some games, like That Dragon, Cancer and <a href="https://steamcommunity.com/app/3245330">The Final Exam</a>, may barely be said to be âplayedâ at all: more experienced, and learned from. Play can inspire joy, flow states, immersionâor desolation. </p> 1054 1055 1056 1057<p class="wp-block-paragraph">This special issue of <em>Vector</em> invites contributors to engage with the act of âplayâ in its most expansive definition, including but not limited to: </p> 1058 1059 1060 1061<ul class="wp-block-list"> 1062<li>Tabletop RPGs </li> 1063 1064 1065 1066<li>Collectibles </li> 1067 1068 1069 1070<li>Video games </li> 1071 1072 1073 1074<li>VR/AR </li> 1075 1076 1077 1078<li>Physical media </li> 1079 1080 1081 1082<li>AI and game creation (backlash, adopters) </li> 1083 1084 1085 1086<li>Educational games</li> 1087 1088 1089 1090<li>Citizen science games</li> 1091 1092 1093 1094<li>Gamification of labour</li> 1095 1096 1097 1098<li>Games in speculative fiction</li> 1099 1100 1101 1102<li>Games as forms of art or activism</li> 1103 1104 1105 1106<li>Affect </li> 1107 1108 1109 1110<li>Materialist/new historicist readings  </li> 1111</ul> 1112 1113 1114 1115<p class="wp-block-paragraph">Please submit your proposal by <strong>September 30th</strong> to [email protected], including:</p> 1116 1117 1118 1119<ul class="wp-block-list"> 1120<li>a 150-500 word proposal, including estimated length;</li> 1121 1122 1123 1124<li>something about yourself, either a 50-100 word bio or a CV.</li> 1125</ul> 1126 1127 1128 1129<p class="wp-block-paragraph">Articles should be between 1,000 and 8,000 words. Please let us know your estimated word count. We seek articles that are carefully grounded in scholarly research, while also being clear, engaging, and suitable for a broad audience (including non-academics). Articles will be due by <strong>November 30th</strong></p> 1130 1131 1132 1133<p class="wp-block-paragraph">Please also feel free to make queries about other formats, e.g. reviews, interviews, curated reading lists, roundtable discussions, unusual / innovative formats. </p> 1134 </div><!-- .entry-content --> 1135 1136 <footer class="entry-footer"> 1137 1138 <div class="entry-meta"> 1139 <span class="byline">
1140 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 1141 <span class="cat-links"> 1142 <a href="https://vector-bsfa.com/category/calls-for-submissions-invitations-and-opportunities/" rel="category tag">calls for submissions, invitations, and opportunities</a> </span><!-- .cat-links --> 1143 1144 <span class="comments-link"><a href="https://vector-bsfa.com/2026/07/28/new-call-for-proposals-play/#respond">Leave a comment</a></span><!-- .comments-link --> 1145 <span class="published-on"> 1146 <a href="https://vector-bsfa.com/2026/07/28/new-call-for-proposals-play/" rel="bookmark"><time class="entry-date published updated" datetime="2026-07-28T10:18:43+00:00">July 28, 2026</time></a> 1147 </span> 1148 1149 </div><!-- .entry-meta --> 1150 </footer><!-- .entry-footer --> 1151</article><!-- #post-## --> 1152 1153 1154 1155<article id="post-13638" class="post-13638 post type-post status-publish format-standard hentry category-articles tag-cofutures tag-zoefuturism"> 1156 <header class="entry-header"> 1157 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/07/23/zoefuturism-as-cofuturism-revisiting-the-genre-argument/" rel="bookmark">Zoefuturism as CoFuturism: Revisiting the genre argument</a></h1> </header><!-- .entry-header --> 1158 <div class="entry-content"> 1159 1160<h2 class="wp-block-heading">Dr. Patrick Anthony Barbosa Brock<br /><em>CoFutures</em></h2> 1161 1162 1163 1164<p class="wp-block-paragraph">What do we do when we talk about Zoefuturism? This essay argues that Zoefuturism and CoFuturisms are not merely aesthetic or speculative categories, but infrastructural practices of collective world-making. I propose a framework for understanding how these movements intervene in social imaginaries through genre formation, manifestos, and boundary-making practices, while also examining their material implications for the communities and infrastructures from which they emerge. To that end, I draw on my previous theorization of the role genre mechanics play in the formation of collectivities.</p> 1165 1166 1167 1168<p class="wp-block-paragraph">Although they are envisioned here as operationally connected, speculative fiction, CoFuturisms, and Zoefuturism should not be treated as interchangeable categories. Speculative fiction is a broad narrative mode oriented toward hypothetical worlds, alternative temporalities, and estrangement from consensus reality. CoFuturisms, by contrast, designate culturally situated interventions that mobilize speculative methods to contest dominant imaginaries and produce alternative social horizons. Zoefuturism differs from both in that its central organizing principle is relationality itself: an ontological emphasis on âinterconnected becomingâ across human, nonhuman, ecological, and material forms of life. Where speculative fiction often asks what futures might exist, and CoFuturisms ask who gets to imagine and inhabit those futures, Zoefuturism asks how forms of life become entangled in the production of futurity.</p> 1169 1170 1171 1172<p class="wp-block-paragraph">CoFuturisms as a conceptual umbrella emerged with the publication of the Routledge Handbook of CoFuturisms and its survey of speculative works from the worldâs periphery, many of which blur the boundaries between art and activism. Like the imaginaries from which they emerge, CoFuturisms are collective constructions shaped by forces operating at both macro and micro levels. As digital media theorist, poet, and software designer Jason Edward Lewis writes, they âcreate a field of âfuture facts,â a fully realized reality that exists somewhere down the timeline, waiting for us to catch up to itâ (11). More broadly, CoFuturisms often emerge through science fiction (SF) and speculative practices, commonly appropriating their methods, to critique dominant imaginaries and intervene micropolitically in the present. As science fiction scholar Taryne Jade Taylor observes, âCoFuturisms is a movement that is found both within science fiction and fantasy and also reaches past the boundaries of speculative fictionâ (2023).</p> 1173 1174 1175<div class="wp-block-image"> 1176<figure class="alignleft size-large is-resized">
1176<a href="https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg"><img data-attachment-id="13640" data-permalink="https://vector-bsfa.com/2026/07/23/zoefuturism-as-cofuturism-revisiting-the-genre-argument/cofuturism/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg" data-orig-size="350,503" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="cofuturism" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg?w=350" loading="lazy" width="350" height="503" src="https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg?w=350" alt="" class="wp-image-13640" style="width:325px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg 350w, https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg?w=104 104w, https://vector-bsfa.com/wp-content/uploads/2026/06/cofuturism.jpg?w=209 209w" sizes="auto, (max-width: 350px) 100vw, 350px" /></a></figure> 1177</div> 1178 1179 1180<p class="wp-block-paragraph">In conversation with the editors of this special issue, I was provided with the following conceptualization of Zoefuturism: âZoefuturism as a genre is founded upon the understanding that all things are relationalâwhere descriptors, characteristics, or even a sense of âbeingâ depend upon everything around themâand that everything is constantly becoming, much like our DNA. As such, Zoefuturism is not political.â</p> 1181 1182 1183 1184<p class="wp-block-paragraph">I interpret Zoefuturism as an attempt to articulate a relational understanding of the world that moves beyond binary frameworks by foregrounding becoming, interdependence, and ecological entanglement. Unlike many futurisms organized around identity, technological acceleration, or emancipatory struggle, Zoefuturism situates relationality itself as the condition of futurity. Its emphasis falls less on representing marginalized futures than on rethinking the ontological assumptions through which futures are imagined in the first place. Yet Zoefuturism cannot escape political impl
1184ications simply by rejecting explicit political identification. Like CoFuturisms, it shapes how reality is narratively and institutionally organized through language, cultural production, archives, and the social imaginaries that orient collective life. Its politics emerge less through ideological declaration than through interventions into the conceptual and affective infrastructures governing how relations between life forms are understood.</p> 1185 1186 1187 1188<p class="wp-block-paragraph">These interventions occur through genre itself. Genres are not merely aesthetic containers but social formations circulating among texts, communities, markets, and institutions. Because genres organize recognition, expectation, and participation, they function as technologies of collective becoming. Speculative fiction provides many of the formal tools that make such interventions narratively intelligible, while CoFuturisms mobilize those tools toward situated cultural and political projects. Zoefuturism, in turn, redirects speculative practice toward relational ontologies that destabilize distinctions between nature and culture, subject and environment, and human and nonhuman life. </p> 1189 1190 1191 1192 <a href="https://vector-bsfa.com/2026/07/23/zoefuturism-as-cofuturism-revisiting-the-genre-argument/#more-13638" class="more-link">Continue reading <span class="screen-reader-text">“Zoefuturism as CoFuturism: Revisiting the genre argument”</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 1193 1194 <footer class="entry-footer"> 1195 1196 <div class="entry-meta"> 1197 <span class="byline"> 1198 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 1199 <span class="cat-links"> 1200 <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a> </span><!-- .cat-links --> 1201 1202 <span class="comments-link"><a href="https://vector-bsfa.com/2026/07/23/zoefuturism-as-cofuturism-revisiting-the-genre-argument/#respond">Leave a comment</a></span><!-- .comments-link --> 1203 <span class="published-on"> 1204 <a href="https://vector-bsfa.com/2026/07/23/zoefuturism-as-cofuturism-revisiting-the-genre-argument/" rel="bookmark"><time class="entry-date published" datetime="2026-07-23T13:13:05+00:00">July 23, 2026</time><time class="updated" datetime="2026-06-24T14:44:11+00:00">June 24, 2026</time></a> 1205 </span> 1206 1207 </div><!-- .entry-meta --> 1208 </footer><!-- .entry-footer --> 1209</article><!-- #post-## --> 1210 1211 1212 1213<article id="post-13596" class="post-13596 post type-post status-publish format-standard hentry category-articles category-writers-and-writing tag-biopunk"> 1214 <header class="entry-header"> 1215 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/07/16/rehabilitating-eva-hauserovas-biopunk/" rel="bookmark">Rehabilitating Eva Hauserová’s Biopunk</a></h1> </header><!-- .entry-header --> 1216 <div class="entry-content"> 1217 1218<h3 class="wp-block-heading">By Cyril Simsa</h3> 1219 1220 1221<div class="wp-block-image"> 1222<figure class="aligncenter size-large"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg"><img data-attachment-id="13600" data-permalink="https://vector-bsfa.com/2026/07/16/rehabilitating-eva-hauserovas-biopunk/eh_promoting_broomsticks_1995/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg" data-orig-size="3752,5418" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="EH_promoting_Broomsticks_1995" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=709" loading="lazy" width="709" height="1023" src="https://vector-bsfa.com/w
1222p-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=709" alt="" class="wp-image-13600" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=709 709w, https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=1418 1418w, https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=104 104w, https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=208 208w, https://vector-bsfa.com/wp-content/uploads/2026/06/eh_promoting_broomsticks_1995.jpg?w=768 768w" sizes="auto, (max-width: 709px) 100vw, 709px" /></a></figure> 1223</div> 1224 1225 1226<p class="has-text-align-center wp-block-paragraph"><em>Eva Hauserová promoting her non-fiction title <strong>Na koÅ¡tÄti se dá i lÃtat</strong> [Broomsticks can also be used for flying], 1995</em></p> 1227 1228 1229 1230<p class="wp-block-paragraph">Of the many contemporary subgenres of sf that can claim they originated as a reaction to the cyberpunk revolution of the 1980s, one of the oldest is certainly “biopunk”, especially if one counts the mini-genre of “ribofunk” â shouted into existence by the American writer Paul Di Filippo (1954-) in 1990, and just as quickly extinguished â as a legitimate precursor (Di Filippo 1990). Probably only “steampunk”, coined by K.W. Jeter (1950-) in 1987, is older (Nicholls and Langford 2025). </p> 1231 1232 1233 1234<p class="wp-block-paragraph">“Biopunk”, as it is used today, refers to a subgenre of sf that adopts many of the stylistic and narrative tropes of cyberpunk â a focus on stories built around an ensemble cast of petty criminals, (gene) hackers and chancers, urban subcultures, and a “revolt into style” (if the reader will pardon the throwback to the cultural criticism of an earlier era) (Melly 1970) â while sourcing its McGuffins from biotechnology, rather than cybernetics. In this contemporary sense, biopunk has its origins in the American genre writing of the 1990s, with the first documented use (from two different, and almost certainly unconnected sources) in 1992, and the subsequent attempt to identify precursors in earlier genre history.<sup data-fn="297ae90a-563c-4c6f-b3c5-15155d429335" class="fn"><a href="#297ae90a-563c-4c6f-b3c5-15155d429335" id="297ae90a-563c-4c6f-b3c5-15155d429335-link">1</a></sup></p> 1235 1236 1237 1238<p class="wp-block-paragraph">Di Filippo takes this as far back as H.G. Wells’ <em>The Island of Doctor Moreau</em> (1896); of more recent antecedents, Greg Bear’s <em>Blood Music</em> (1985) and Bruce Sterling’s <em>Schismatrix</em> (1985) are frequently cited (Di Filippo 1990; Schmeink 2014b, 32). From these American genre roots, biopunk has spread around the world and into other media, film and TV in particular. The hit TV show, <em>Orphan Black</em> (2013-2017), with its saga of a shadowy organisation trying to direct the future of human evolution through gene hacking and the complications that arise when some of its human clones escape, would be a good example. All of which makes a neat teleological narrative of exactly the kind that, in theory, every self-respecting punk of whatever persuasion is supposed to abhor; and none of which quite holds together when examined in a broader framework. <br /><br />Because there is a catch â of course, there is â and in a European context, this neat timeline is disrupted by the Czech writer Eva Hauserová (1954-2023), also known as Eva Hauser, who in 1988 independently came up with a literary intervention she called “biopunk,” and her coinage pre-dates the American one. This sits uncomfortably with the official chronicle, making her something later critics have had to explain away, though there are also those who have simply ignored her. (For the former, see Schmeink, who will be discussed below; for the latter, a simple Google search will reveal any number of biopunk, or biopunk-adjacent websites that have no idea of Eva’s existence.)  </p> 1239 1240 1241 1242 <a href="https://vector-bsfa.com/2026/07/16/rehabilitating-eva-hauserovas-biopunk/#more-13596" class="more-link">Continue reading <span class="screen-reader-text">“Rehabilitating Eva Hauserová’s Biopunk”</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 1243 1244 <footer class="entry-footer"> 1245 1246 <div class="entry-meta"> 1247 <span class="byline">
1248 <a href="https://vector-bsfa.com/author/phoenixalexandereditor/" rel="author">phoenixalexandereditor</a> </span> 1249 <span class="cat-links"> 1250 <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a>, <a href="https://vector-bsfa.com/category/writers-and-writing/" rel="category tag">writers and writing</a> </span><!-- .cat-links --> 1251 1252 <span class="comments-link"><a href="https://vector-bsfa.com/2026/07/16/rehabilitating-eva-hauserovas-biopunk/#respond">Leave a comment</a></span><!-- .comments-link --> 1253 <span class="published-on"> 1254 <a href="https://vector-bsfa.com/2026/07/16/rehabilitating-eva-hauserovas-biopunk/" rel="bookmark"><time class="entry-date published" datetime="2026-07-16T00:15:23+00:00">July 16, 2026</time><time class="updated" datetime="2026-06-14T00:17:59+00:00">June 14, 2026</time></a> 1255 </span> 1256 1257 </div><!-- .entry-meta --> 1258 </footer><!-- .entry-footer --> 1259</article><!-- #post-## --> 1260 1261 1262 1263<article id="post-13618" class="post-13618 post type-post status-publish format-standard hentry category-articles tag-thrutopia tag-zoefuturism"> 1264 <header class="entry-header"> 1265 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/" rel="bookmark">Thrutopia with Manda Scott and Denise Baden</a></h1> </header><!-- .entry-header --> 1266 <div class="entry-content"> 1267 1268<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> 1269<p class="wp-block-paragraph">Aware of other sub-genres that might sit alongside, overlap or appear to be similar to Zoefuturism, we welcomed contributions about them, to help shape our understanding of Zoefuturism relationally.</p> 1270</blockquote> 1271 1272 1273 1274<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> 1275<p class="wp-block-paragraph">Below, Manda Scott and Denise Baden set out strong cases for Thrutopia.</p> 1276</blockquote> 1277 1278 1279 1280<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> 1281<p class="wp-block-paragraph">This is interesting from a zoefuturist perspective because Thrutopia is about change and the journey; imagining positive futures and the practicalities of getting there has to be a good approach.</p> 1282</blockquote> 1283 1284 1285 1286<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> 1287<p class="wp-block-paragraph">However, Zoefuturism does not presuppose an end point or a goal, more that there is a distinct need to fundamentally alter our world-view, of how we interact and fit in with the world in the broadest sense. It also does not delve in binarisms like positivity/negativity inasmuch as binaries are composites of a holistic purview of life.</p> 1288</blockquote> 1289 1290 1291 1292<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> 1293<p class="wp-block-paragraph">We need healthy relationships between all of âlifeâ and ânon-lifeâ in the now, acknowledging the diversities while engaging in the nuanced relationships that encompass nature, technology, and more. We need to understand that change is constant and how we live is what affects the possible futures that it is becoming.</p> 1294</blockquote> 1295 1296 1297 1298<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> 1299<p class="wp-block-paragraph">We hope that celebrating other sub-genres while encouraging a Zoefuturist approach to reading and writing them will make them more impactful.</p> 1300<cite>Yen Ooi and Stephen Oram (guest-editors, Zoefuturism)</cite></blockquote> 1301 1302 1303<a class="wp-block-read-more" href="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/" target="_self">Read more<span class="screen-reader-text">: Thrutopia with Manda Scott and Denise Baden</span></a> 1304 1305 1306<hr class="wp-block-separator has-alpha-channel-opacity" /> 1307 1308 1309 1310<h2 class="wp-block-heading"><strong>Thrutopian Road Maps </strong></h2> 1311 1312 1313 1314<h3 class="wp-block-heading"><strong>An essay by Manda Scott (August 2025</strong>)</h3> 1315 1316 1317 1318<p class="wp-block-paragraph"><em>âAt times, a single fluctuation ⦠may become so powerful ⦠that it shatters the preexisting organization. At this revolutionary moment ⦠it is inherently impossible to determine in advance which direction change will take: whether the system will disintegrate into âchaosâ or leap to a new, more differentiated, higher level of âorder.ââ â Alvin Toffler</em></p> 1319 1320 1321 1322<p class="wp-block-paragraph">If we who write can craft clear routes from a recognisable present, mapping towards a future that engages people at the limbic level, we can help tip the balance to a future where a critical mass of us begins to <em>yearn for the outcomes offered</em>, and <em>change will happen</em>. </p> 1323 1324 1325 1326<p class="wp-block-paragraph">This is the explicit foundation of the Thrutopian genre: offering route mapsâof which there are, self-evidently, an almost infinite numberâtowards a future we would be proud to leave to the generations that will follow us. </p> 1327 1328 1329 1330<p class="wp-block-paragraph">If we can imagine forward seven generations and look into the eyes of a young person living in the world for which we have laid the foundations, if they feel safe, confident, fully connected to all parts of themselves, each other and the Web of Life, then weâre on the road to the emergent edge of inter-becoming from which an entirely new system can potentially arise.</p> 1331 1332 1333 1334<p class="wp-block-paragraph">As writers, we can gather the building blocks that are already emerging and make of them stepping stones across the river. Stretching the metaphor to breaking point, the narratives we thereby shape must at least offer a glimpse of a reason to cross (motivation), the means to make the crossing (agency), the route to take (direction) and the freedom to take it (empowerment).</p> 1335 1336 1337 1338<p class="wp-block-paragraph">This is the heart of behavioural change: MADE: </p> 1339 1340 1341 1342<p class="wp-block-paragraph">Motivation: with all my heart, I yearn for a future I can glimpse but not yet embrace; </p> 1343 1344 1345 1346<p class="wp-block-paragraph">Agency: I have the tools to take the first steps towards this future; </p> 1347 1348 1349 1350<p class="wp-block-paragraph">Direction: I know the routes away from my present state that will lead me towards the future I yearn for;</p> 1351 1352 1353 1354<p class="wp-block-paragraph">Empowerment: I am free of constraint in the present moment enabling me to take the steps and wield the tools in ways that will be effective.</p> 1355 1356 1357 1358<p class="wp-block-paragraph">Each of these belongs squarely in the realms of creative imagination. I am not pretending that crafting these is easy; itâs not. One of the many reasons there are so many dystopias and so few genuine Thrutopias is that itâs mind-bendingly hard to find peaceful routes to an equitable world in which humanity flourishes in concert with â even in service to – Life. </p> 1359 1360 1361 1362<p class="wp-block-paragraph">But it isnât impossible and frankly, if the hardest thing we have to do in the next decade is get our heads around the thinking that already exists at the emergent edge of possibility, then we will be supremely lucky. </p> 1363 1364 1365 1366<p class="wp-block-paragraph">And this is the single most important point. If you take nothing else away, please believe me that there are people already working at the emergent edge of wide boundary systems thinking, of food and farming systems (we have to abandon industrial agriculture as a matter of urgency), of biomimicry, doughnut/ecological/degrowth economics, distributed governance systems, regenerative use of AI, urban and rural planning based on fully regenerative principlesâ¦</p> 1367 1368 1369 1370<p class="wp-block-paragraph">Every one of these is actively being pursued, itâs just that our legacy media runs with the old style mindset of âif it bleeds, it leadsâ and theyâre not up to speed (yet) with the idea that the existing system is disintegrating and a new one is already emerging from the ashes.</p> 1371 1372 1373 1374<p class="wp-block-paragraph">This is part of the Thrutopian narrative shift of which we are an integral part: building routes through, from a recognisable present towards a future weâd all be proud to leave to the generations that come after us.</p> 1375 1376 1377 1378<hr class="wp-block-separator has-alpha-channel-opacity" /> 1379 1380 1381 1382<h2 class="wp-block-heading">Writing a future weâd like to see, the thrutopian approach. </h2> 1383 1384 1385 1386<h3 class="wp-block-heading">By Denise Baden (April 2026)</h3> 1387 1388 1389 1390<p class="wp-block-paragraph">Science fiction often envisions not just technological innovations but societal ones. For example, Ursula Le Guinâs <em>The Dispossessed</em> imagines an anarchic/communist society that is broadly utopian in its ideals and has distinctly different arrangements and values surrounding ownership. However, there are few novels that show the process by which we might get from where we are now to such a future. Kevin Kelly coined the term âprotopia,â which describes the process of improvement over time. Rupert Read similarly talks about âthrutopiaâ: how we get from where we are now to where weâd like to be, i.e. a flourishing, sustainable society. The idea was so powerful that bestselling author Manda Scott set up a Thrutopia masterclass for writers: âwriting our way to a future weâd be proud to leave to the coming generations.â She moved from writing historical fiction to a novel set in the near future, <em>Any Human Power,</em> which adopts the thrutopian approach. </p> 1391 1392 1393 1394<p class="wp-block-paragraph">In this article I discuss some of the books published by Habitat Press, an indie publisher with a niche interest in stories that showcase thrutopian or protopian pathways. There are numerous âcli-fiâ stories that present dystopian visions of what will happen if we donât act. These
1394can be unexpectedly problematic, as research has highlighted the dangers of trying to âscare people green.â Dystopian stories run the risk of fear-driven counterproductive responses, such as the blaming of marginalised groups or buying up all the toilet rolls. There are also numerous eco-fiction stories that persuade us to love nature and plant trees but get us no nearer to understanding what the really effective solutions are and, even more importantly, how we might get there from where we are today. This is a gap that I havenât seen any fiction (other than <em>Ministry for the Future</em>) fulfil.</p> 1395 1396 1397 1398<p class="wp-block-paragraph">Steve Willis, a climate engineer and author (<a href="https://habitatpress.com/fairhaven/"><em>Fairhaven</em></a>, <a href="https://habitatpress.com/defying-futility/"><em>Defying Futility</em></a>) has allowed me to share his diagram of films, books etc., which plots dystopian/utopian visions of the future against plausibility. Itâs clear that thereâs little that is both positive and plausible. </p> 1399 1400 1401<div class="wp-block-image"> 1402<figure class="aligncenter size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png"><img data-attachment-id="13628" data-permalink="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/image2-6/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png" data-orig-size="1228,740" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image2" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png?w=1024" loading="lazy" width="1024" height="617" src="https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png?w=1024" alt="" class="wp-image-13628" style="width:420px;height:253px" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png?w=1024 1024w, https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png?w=150 150w, https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png?w=300 300w, https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png?w=768 768w, https://vector-bsfa.com/wp-content/uploads/2026/06/image2.png 1228w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></a></figure> 1403</div> 1404 1405 1406<p class="wp-block-paragraph">Habitat Press has published several books that write into this space. Many emerged from the <a href="https://www.greenstories.org.uk/">Green Stories project</a> which I founded with the goal of embedding climate solutions into mainstream fiction. It has run 21 competitions since 2018, resulting in numerous <a href="https://habitatpress.com/">publications</a>. One of these is the anthology of 24 stories: <a href="https://habitatpress.com/no-more-fairy-tales/">No More Fairy Tales: Stories to Save Our Planet</a>, where we teamed experienced writers with climate experts to come up with stories that had solutions at their heart. </p> 1407 1408 1409<div class="wp-block-image"> 1410<figure class="alignleft size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/image4.jpg"><img data-attachment-id="13629" data-permalink="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/image4-6/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image4.jpg" data-orig-size="460,736" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image4" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/w
1410p-content/uploads/2026/06/image4.jpg?w=460" loading="lazy" width="460" height="736" src="https://vector-bsfa.com/wp-content/uploads/2026/06/image4.jpg?w=460" alt="" class="wp-image-13629" style="aspect-ratio:0.6261682242990654;width:207px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/image4.jpg 460w, https://vector-bsfa.com/wp-content/uploads/2026/06/image4.jpg?w=94 94w, https://vector-bsfa.com/wp-content/uploads/2026/06/image4.jpg?w=188 188w" sizes="auto, (max-width: 460px) 100vw, 460px" /></a></figure> 1411</div> 1412 1413 1414<p class="wp-block-paragraph">Stories range from technical solutions relating to carbon dioxide removal projects to more systemic aspects such as switching from GDP to a well-being index, sharing economy, personal carbon allowances, giving citizen assemblies legislative power â all of which would allow for a more sustainable long-term mindset conducive to directing investment towards sustainable technologies, practices, and decisions. </p> 1415 1416 1417 1418<p class="wp-block-paragraph">This anthology uses fiction as a testing ground to explore the more radical transformative ideas necessary for a truly sustainable society: ideas that are hard for politicians to talk about for fear of misunderstanding as they canât easily fit into a soundbite. For example, an essential step is to upgrade our democracy to a form that allows us to think beyond short-term electoral cycles so that we can make more sustainable decisions. Citizensâ Assemblies are a positive step here. </p> 1419 1420 1421 1422<p class="wp-block-paragraph">One story from this anthology was adapted as a play called â<a href="https://www.greenstories.org.uk/theatre-in-education/"><em>Murder in the Citizensâ Jury.â</em></a> Itâs a fun whodunit, set in a citizensâ assembly, where eight participants meet to deliberate upon climate solutionsâand then thereâs a murder! </p> 1423 1424 1425<div class="wp-block-image"> 1426<figure class="alignleft size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg"><img data-attachment-id="13630" data-permalink="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/image3-5/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg" data-orig-size="348,488" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image3" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg?w=348" loading="lazy" width="348" height="488" src="https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg?w=348" alt="" class="wp-image-13630" style="aspect-ratio:0.7123893805309734;width:211px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg 348w, https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg?w=107 107w, https://vector-bsfa.com/wp-content/uploads/2026/06/image3.jpg?w=214 214w" sizes="auto, (max-width: 348px) 100vw, 348px" /></a></figure> 1427</div> 1428 1429 1430<p class="wp-block-paragraph"><strong>Caption: flyer for theatre production by amateur theatre group, The Maskers.</strong></p> 1431 1432 1433 1434<p class="wp-block-paragraph">The play also has an interactive element. A voting app and pullout voting and comment sheet in the programmes allows the audience to share their views on their favourite policies, so they feel like they are part of the citizenâs jury themselves. You can see a brief video of the first production by a local amateur theatre group <a href="https://www.youtube.com/watch?v=fosCvlJvY4o">here</a>. The play is available to purchase from LazyBee, but if you approach me directly, Iâm happy to allow amateur and student theatre groups to stage it royalty free. </p> 1435 1436 1437 1438<p class="wp-block-paragraph">The play is also available as a novella and audio book, <a href="https://habitatpress.com/product/the-assassin/">âThe Assassinâ</a> of 16,000 words:</p> 1439 1440 1441 1442<p class="wp-block-paragraph"><em>Eight people in a citizenâs jury, discussing the most important challenge in the history of humanity â how to save ourselves from the looming climate crisis. Exciting new solutions are proposed, each with their own champions and detractors. What they decide will affect us all. But they all have their own issues to deal with, and one of them has a hidden agenda. Who is the assassin and who are they there to kill?</em></p> 1443 1444 1445 1446<p class="wp-block-paragraph">Such storytelling is a great way to showcase new ideas. Usually in business or government, one would use a stakeholder analysis to see who is benefitted/harmed by any policy and how. These can be dry, and itâs hard to engage with the impacts emotionally as the groups affected seem distant. This story allows stakeholders to become characters and as such we identify with them and their needs more easily. We can then view any climate policy from the perspective of a variety of people, all of whom have a unique relationship to the proposal.</p> 1447 1448 1449 1450<p class="wp-block-paragraph"><em>The Assassin</em> also acts as a story within a story in a full-length novel <a href="https://www.dabaden.com/the-philosopher-and-the-assassin/"><em>The Philosopher and the Assassin</em></a>. Itâs rather different â think campus novel meets moral philosophy meets whodunnit. </p> 1451 1452 1453 1454<p class="wp-block-paragraph"><em>Thereâs no more important job than educator, and no subject as necessary as moral philosophy. The trick is getting the students to turn up. So, when the Dean proposes the controversial concept of education entertainment, Professor Iris Tate goes all in with a moral philosophy course based on a whodunnit that all assume is hypothetical â a murder in a citizensâ assembly on climate. A variety of characters provide an entertaining source of ethical dilemmas, but what the students donât know is that the ultimate dilemma is very real, and their conclusions will have far-reaching consequences.</em></p> 1455 1456 1457<div class="wp-block-image"> 1458<figure class="alignleft size-large is-resized">
1458<a href="https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg"><img data-attachment-id="13631" data-permalink="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/image6-4/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg" data-orig-size="375,600" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image6" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg?w=375" loading="lazy" width="375" height="600" src="https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg?w=375" alt="" class="wp-image-13631" style="aspect-ratio:0.6259541984732825;width:203px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg 375w, https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg?w=94 94w, https://vector-bsfa.com/wp-content/uploads/2026/06/image6.jpg?w=188 188w" sizes="auto, (max-width: 375px) 100vw, 375px" /></a></figure> 1459</div> 1460 1461 1462<p class="wp-block-paragraph">An adaptation for TV won the Writing Climate Pitchfest, 2024. The book lays out in fiction format a roadmap to a sustainable future. It focuses on social science innovations in democratic, economic, financial, and social institutions. </p> 1463 1464 1465 1466<p class="wp-block-paragraph"> <a href="https://habitatpress.com/no-more-fairy-tales/">No More Fairy Tales: Stories to Save Our Planet</a> features three short stories that explore the idea of giving the ocean a nation status. One is about the seed of the idea; another is set when the Ocean as Nation has begun and is facing its first challenge, and the final story is set decades in the future outlining what the new Ocean Nation looks like and how it has progressed. It was expanded into a properly thrutopian full-length novel, <a href="https://habitatpress.com/product/fairhaven/"><em>Fairhaven, </em>written</a> by engineer Steve Willis and writer Jan Lee. </p> 1467 1468 1469<div class="wp-block-image"> 1470<figure class="alignright size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg"><img data-attachment-id="13632" data-permalink="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/image5-5/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg" data-orig-size="338,480" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image5" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg?w=338" loading="lazy" width="338" height="480" src="https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg?w=338" alt="" class="wp-image-13632" style="aspect-ratio:0.7081339712918661;width:205px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg 338w, https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg?w=106 106w, https://vector-bsfa.com/wp-content/uploads/2026/06/image5.jpg?w=211 211w" sizes="auto, (max-width: 338px) 100vw, 338px" /></a></figure> 1471</div> 1472 1473 1474<p class="wp-block-paragraph"><em>Visco</em> won the 2020 Green Stories novel competition. The story imagines a giant music festival which allows free access to those who need care and their carers too. What emerges is a care-based mini-society. Those who attend love it so much, no one wants to go home when the music stops. So they donât! This novel adopts the âprotopianâ approach of imagining a quite plausible scenario whereby a mini community develops in stages. The characters face and overcome various challenges. David Fell brings to this novel all the knowledge he has gained in his years working as a sustainability consultant, using the novel to showcase alternative approaches such as the sharing economy and how a society based on care might work in practice. </p> 1475 1476 1477<div class="wp-block-image"> 1478<figure class="alignleft size-large is-resized">
1478<a href="https://vector-bsfa.com/wp-content/uploads/2026/06/image1.jpg"><img data-attachment-id="13633" data-permalink="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/image1-7/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image1.jpg" data-orig-size="263,421" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="image1" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/wp-content/uploads/2026/06/image1.jpg?w=263" loading="lazy" width="263" height="421" src="https://vector-bsfa.com/wp-content/uploads/2026/06/image1.jpg?w=263" alt="" class="wp-image-13633" style="aspect-ratio:0.625;width:191px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/image1.jpg 263w, https://vector-bsfa.com/wp-content/uploads/2026/06/image1.jpg?w=94 94w" sizes="auto, (max-width: 263px) 100vw, 263px" /></a></figure> 1479</div> 1480 1481 1482<p class="wp-block-paragraph">Fiction, and science fiction in particular, is a great way to reach audiences beyond the environmental echo chamber, but to finish, Iâll talk about my next book, which is non-fiction but with a twist! Itâs tentatively called <a href="https://www.dabaden.com/a-20-piece-jigsaw-to-save-the-world/">A Jigsaw to Save the World</a>. The twist â you guessed it – is that I plan to make it available also as a jigsaw. </p> 1483 1484 1485 1486<p class="wp-block-paragraph">I like the idea of a jigsaw as on the front cover is a picture which you are trying to get to. I read many books that do an excellent job of pinpointing the many problems society faces, and itâs usually not until the final chapter that any attempt is made at suggesting possible solutions. The news and pundits far and wide are keen to point out the problems we face. But itâs rare we take time to imagine what it might all look like if we did things better. </p> 1487 1488 1489 1490<p class="wp-block-paragraph">Rob Hopkins, in his book <em>From What Is to What If,</em> believes that when we take the time to immerse ourselves fully in imagining what kind of future weâd like to see, this creates a longing for it to happen. This in turn can galvanise action to make that dream come true. In his podcast <em>From What Is to What Next,</em> he asked guests to step into a virtual time machine, and to imagine themselves to be several years into the future and that weâve done everything right and turned our society round. He then asked them to visualise what they see and hear around them. Itâs a surprisingly powerful exercise when you do it yourself. Rob is right; it creates a yearning in the heart, a longing that almost makes you cry. </p> 1491 1492 1493 1494<p class="wp-block-paragraph">I do a lot of talks and workshops and often use this exercise myself. Itâs remarkable that, in my experience, whatever the audience, the society people hunger for is always the same. First is always more nature. A close second is a sense of community, after that itâs more varied, but local food is often part of the picture, being outdoors more, less traffic. Public transport that is cheap, convenient and goes where you want, whenever you want. A more equal society, clean air and water. Access to health care and to feel hope for the future, or our childrenâs future. This is the picture on the front of the jigsaw. In every chapter, I will remind the reader of the society we are aiming towards.</p> 1495 1496 1497 1498<p class="wp-block-paragraph">Another reason I like the jigsaw metaphor is that we can see what pieces we may be part of in our own lives. Itâs not just about building castles in the air for fun. The stakes are too high for that. We must work out how we get to our desired society. No one person or element can do it by themselves. We need every part of society to be working together to create this new picture. Whether we be in education, business, politics, members of our community, artists, journalists, or just as employees or voters with a voice, you can see where you fit in. At the end of every chapter, if you like what itâs proposing, I will suggest how you can make a difference.</p> 1499 1500 1501 1502<p class="wp-block-paragraph">I have an idea of the many pieces that will make up the jigsaw, and am working on the corners. The criteria for a policy to be a corner piece is that without that, all the other wonderful ideas or policies would not be as effective. Contenders for the corner pieces include citizens assemblies as our current democracy is constitutionally incapable of prioritising existential threats such as climate change over short
1502-term issues. Another might be personal carbon allowances/tradeable energy quotas â also known as personal carbon trading. This would transform the decisions that are made by consumers and by businesses by incentivising us to choose low-carbon alternatives. Business purpose justifies a corner but itâs tricky. The current legal form of corporations makes it impossible for even well-meaning CEOs to prioritise societal welfare when it conflicts with profit maximisation for shareholders. What if all businesses were Benefit Corporations/social enterprises where their aim was sufficient profit to supply necessary goods and services rather than profit maximisation? What would happen to markets and pensions? Itâs easy to imagine distant futures but the process of getting there without triggering collapse is harder. Yet the alternative could be human extinction. Iâm running events to get people together to puzzle out these sticky problems. Details are available<a href="https://www.dabaden.com/a-jigsaw-to-save-the-world/#co-creation-with-academics"> here</a>.</p> 1503 1504 1505 1506<p class="wp-block-paragraph">While Iâm writing the book Iâm releasing abridged chapters as a fortnightly<a href="https://www.linkedin.com/newsletters/a-jigsaw-to-save-the-world-7300475505529540608/"> LinkedIn newsletter</a>. Each edition focuses on one piece of the puzzle. Subscribe for free to feedback on the ideas and share your view on what the corner pieces should be. Iâd love to know your thoughts! </p> 1507 1508 1509 1510<p class="wp-block-paragraph"><a href="https://www.dabaden.com/">https://www.dabaden.com/</a></p> 1511 1512 1513 1514<p class="wp-block-paragraph"><a href="https://www.linkedin.com/in/denise-baden-3742793/">Denise Baden | LinkedIn</a></p> 1515 1516 1517 1518<p class="wp-block-paragraph"><a href="https://bsky.app/profile/dabaden.bsky.social">https://bsky.app/profile/dabaden.bsky.social</a></p> 1519 </div><!-- .entry-content --> 1520 1521 <footer class="entry-footer"> 1522 1523 <div class="entry-meta"> 1524 <span class="byline"> 1525 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 1526 <span class="cat-links"> 1527 <a href="https://vector-bsfa.com/category/articles/" rel="category tag">articles</a> </span><!-- .cat-links --> 1528 1529 <span class="comments-link"><a href="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/#respond">Leave a comment</a></span><!-- .comments-link --> 1530 <span class="published-on"> 1531 <a href="https://vector-bsfa.com/2026/07/09/thrutopia-with-manda-scott-and-denise-baden/" rel="bookmark"><time class="entry-date published" datetime="2026-07-09T23:39:42+00:00">July 9, 2026</time><time class="updated" datetime="2026-06-14T00:10:33+00:00">June 14, 2026</time></a> 1532 </span> 1533 1534 </div><!-- .entry-meta --> 1535 </footer><!-- .entry-footer --> 1536</article><!-- #post-## --> 1537 1538 1539 1540<article id="post-13582" class="post-13582 post type-post status-publish format-standard hentry category-interviews-roundtables-and-surveys category-writers-and-writing tag-ai"> 1541 <header class="entry-header"> 1542 <h1 class="entry-title"><a href="https://vector-bsfa.com/2026/07/02/jean-paul-l-garnier-interviews-a-d-sui/" rel="bookmark">Â Jean-Paul L. Garnier interviews A.D. Sui</a></h1> </header><!-- .entry-header --> 1543 <div class="entry-content"> 1544 <div class="wp-block-image"> 1545<figure class="alignleft size-large is-resized"><a href="https://vector-bsfa.com/wp-content/uploads/2026/06/sui.jpg"><img data-attachment-id="13586" data-permalink="https://vector-bsfa.com/2026/07/02/jean-paul-l-garnier-interviews-a-d-sui/sui-2/" data-orig-file="https://vector-bsfa.com/wp-content/uploads/2026/06/sui-edited.jpg" data-orig-size="505,777" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="sui" data-image-description="" data-image-caption="" data-large-file="https://vector-bsfa.com/w
1545p-content/uploads/2026/06/sui-edited.jpg?w=505" loading="lazy" width="505" height="777" src="https://vector-bsfa.com/wp-content/uploads/2026/06/sui-edited.jpg" alt="" class="wp-image-13586" style="aspect-ratio:0.6499414723654655;width:338px;height:auto" srcset="https://vector-bsfa.com/wp-content/uploads/2026/06/sui-edited.jpg 505w, https://vector-bsfa.com/wp-content/uploads/2026/06/sui-edited.jpg?w=97&h=150 97w, https://vector-bsfa.com/wp-content/uploads/2026/06/sui-edited.jpg?w=195&h=300 195w" sizes="auto, (max-width: 505px) 100vw, 505px" /></a></figure> 1546</div> 1547 1548 1549<p class="wp-block-paragraph"><strong>Jean-Paul L. Garnier: One theme of <em>The Iron Garden Sutra </em>concerns failed generation ships and the existential troubles they face during their journeys. I have read several books recently with similar takes on generation ships. Do you feel that this kind of story reflects a growing tension between generations in the real world and youth feeling that they have been dealt a bad hand by previous generations?</strong></p> 1550 1551 1552 1553<p class="wp-block-paragraph"><strong>A.D. Sui</strong>: Generation ships are a long-standing tradition in sci-fi. Whatâs not alluring about packing up ourselves into a tin can and running off into the universe in search of greener pastures? But in my opinion, itâs also a very naïve take. Space is hostile. Space is <em>hard. </em>But there is a romanticism in cutting and running. Staying is, arguably, far more difficult. </p> 1554 1555 1556 1557<p class="wp-block-paragraph">I think every generation feels that pull of running away from their reality. Every generation can say that they have been dealt a bad hand. Millennials are economically disadvantaged because of policies enacted by Gen X and Boomers (and yes, have lived through three recessions now, but whoâs counting?). Gen Xers felt theyâve been invisible all their lives. Boomers, Iâm sure, felt disadvantaged in some way as well. Hard to imagine now, but one might. The generation before probably felt that they were unfairly thrust into a war that was only possible because of what the previous generation had done. And this is just the North American perspective. There are many more global conflicts, recessions, and other strains on each generation. We all want to run away, thinking that it will be better. To where? No one knows for sure, but somewhere that isnât here. </p> 1558 1559 1560 1561<p class="wp-block-paragraph">Part of <em>The Iron Garden Sutra</em>âs theme is deciding when to stand your ground and fight for the things we believe in. Even if we are one person. Even if the outcome doesnât look hopeful. Millennials are of the age when our financial decisions and our voting have the most impact. Some of us are even in positions of influence. Some are making decisions on scales that will impact the next generation (hi, Gen Z, and sorry). We can continue to bemoan the hand weâve been dealt, or we can also work towards leaving things better for those who are coming after us. I, personally, am a huge fan of complaining <em>while </em>doing the thing. </p> 1562 1563 1564 1565<p class="wp-block-paragraph">Itâs going to suck and itâs going to be a lot of work, sure, but we <em>can </em>leave a better world for those after us.</p> 1566 1567 1568 1569<p class="wp-block-paragraph"><strong>Youâve also created a religion in this novel, The Starlit. What did the process of creating a theology look like for you, and please tell us about the introduction of cosmology into the religion of peoples who have colonized the stars?</strong></p> 1570 1571 1572 1573<p class="wp-block-paragraph">The Starlit is loosely based on Zen Buddhism. I have a very strong preference for non-monotheistic religions and like pondering where they can end up in thousands of years. What is the natural progression of something like Zen if it was supported into the future? What would its practitioners decide to keep and what would they discard? Because religion <em>does</em> change! Doctrine <em>does</em> change! It changes very slowly since religious institutions are massive and canât afford to throw their entire weight around every other week, but it does change. </p> 1574 1575 1576 1577<p class="wp-block-paragraph">I think the introduction of cosmology is the natural transition, given how we
1577commonly incorporate elements from our immediate environments into religious texts. Parting the Red Sea, trudging through deserts, and all that. If people are traversing between stars frequently, then star-like language would begin bleeding into texts. </p> 1578 1579 1580 1581 <a href="https://vector-bsfa.com/2026/07/02/jean-paul-l-garnier-interviews-a-d-sui/#more-13582" class="more-link">Continue reading <span class="screen-reader-text">” Jean-Paul L. Garnier interviews A.D. Sui”</span> <span class="meta-nav">→</span></a> </div><!-- .entry-content --> 1582 1583 <footer class="entry-footer"> 1584 1585 <div class="entry-meta"> 1586 <span class="byline"> 1587 <a href="https://vector-bsfa.com/author/vectoreditors2017/" rel="author">Vector editors</a> </span> 1588 <span class="cat-links"> 1589 <a href="https://vector-bsfa.com/category/interviews-roundtables-and-surveys/" rel="category tag">interviews, roundtables, and surveys</a>, <a href="https://vector-bsfa.com/category/writers-and-writing/" rel="category tag">writers and writing</a> </span><!-- .cat-links --> 1590 1591 <span class="comments-link"><a href="https://vector-bsfa.com/2026/07/02/jean-paul-l-garnier-interviews-a-d-sui/#respond">Leave a comment</a></span><!-- .comments-link --> 1592 <span class="published-on"> 1593 <a href="https://vector-bsfa.com/2026/07/02/jean-paul-l-garnier-interviews-a-d-sui/" rel="bookmark"><time class="entry-date published" datetime="2026-07-02T17:41:55+00:00">July 2, 2026</time><time class="updated" datetime="2026-06-11T17:50:28+00:00">June 11, 2026</time></a> 1594 </span> 1595 1596 </div><!-- .entry-meta --> 1597 </footer><!-- .entry-footer --> 1598</article><!-- #post-## --> 1599 1600 1601 1602 <nav class="navigation posts-navigation" aria-label="Posts"> 1603 <h2 class="screen-reader-text">Posts navigation</h2> 1604 <div class="nav-links"><div class="nav-previous"><a href="https://vector-bsfa.com/torque-control/page/2/" >Older posts</a></div></div> 1605 </nav> 1606 1607 </main><!-- #main --> 1608 </div><!-- #primary --> 1609 1610<div id="secondary" class="widget-area" role="complementary"> 1611 <aside id="search-9" class="widget widget_search"><h1 class="widget-title">Search</h1><form role="search" method="get" class="search-form" action="https://vector-bsfa.com/"> 1612 <label> 1613 <span class="screen-reader-text">Search for:</span> 1614 <input type="search" class="search-field" placeholder="Search …" value="" name="s" /> 1615 </label> 1616 <input type="submit" class="search-submit" value="Search" /> 1617 </form></aside><aside id="blog_subscription-4" class="widget widget_blog_subscription jetpack_subscription_widget"><h1 class="widget-title"><label for="subscribe-field">Follow Blog via Email</label></h1> 1618 1619 <div class="wp-block-jetpack-subscriptions__container"> 1620 <form 1621 action="https://subscribe.wordpress.com" 1622 method="post" 1623 accept-charset="utf-8" 1624 data-blog="253356" 1625 data-post_access_level="everybody" 1626 id="subscribe-blog" 1627 > 1628 <p>Enter your email address to follow this blog and receive notifications of new posts by email.</p> 1629 <p id="subscribe-email"> 1630 <label 1631 id="subscribe-field-label" 1632 for="subscribe-field" 1633 class="screen-reader-text" 1634 > 1635 Email Address: </label> 1636 1637 <input 1638 type="email" 1639 name="email" 1640 autocomplete="email" 1641 1642 style="width: 95%; padding: 1px 10px" 1643 placeholder="Email Address" 1644 value="" 1645 id="subscribe-field" 1646 required 1647 /> </p> 1648 1649 <p id="subscribe-submit" 1650 > 1651 <input type="hidden" name="action" value="subscribe"/> 1652 <input type="hidden" name="blog_id" value="253356"/> 1653 <input type="hidden" name="source" value="https://vector-bsfa.com/torque-control/"/> 1654 <input type="hidden" name="sub-type" value="widget"/> 1655 <input type="hidden" name="redirect_fragment" value="subscribe-blog"/> 1656 <input type="hidden" id="_wpnonce" name="_wpnonce" value="af8efc2004" /> <button type="submit" 1657 class="wp-block-button__link" 1658 > 1659 Follow </button> 1660 </p> 1661 </form> 1662 </div> 1663 1664</aside><aside id="follow_button_widget-3" class="widget widget_follow_button_widget"> 1665 <a class="wordpress-follow-button" href="https://vector-bsfa.com" data-blog="253356" data-lang="en" data-show-blog-name="false">Follow on WordPress.com</a> 1666
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href='https://vector-bsfa.com/2020/08/'>August 2020</a></li> 1823 <li><a href='https://vector-bsfa.com/2020/07/'>July 2020</a></li> 1824 <li><a href='https://vector-bsfa.com/2020/06/'>June 2020</a></li> 1825 <li><a href='https://vector-bsfa.com/2020/05/'>May 2020</a></li> 1826 <li><a href='https://vector-bsfa.com/2020/04/'>April 2020</a></li> 1827 <li><a href='https://vector-bsfa.com/2020/03/'>March 2020</a></li> 1828 <li><a href='https://vector-bsfa.com/2020/02/'>February 2020</a></li> 1829 <li><a href='https://vector-bsfa.com/2020/01/'>January 2020</a></li> 1830 <li><a href='https://vector-bsfa.com/2019/12/'>December 2019</a></li> 1831 <li><a href='https://vector-bsfa.com/2019/11/'>November 2019</a></li> 1832 <li><a href='https://vector-bsfa.com/2019/10/'>October 2019</a></li> 1833 <li><a href='https://vector-bsfa.com/2019/09/'>September 2019</a></li> 1834 <li><a href='https://vector-bsfa.com/2019/08/'>August 2019</a></li> 1835 <li><a href='https://vector-bsfa.com/2019/07/'>
1835July 2019</a></li> 1836 <li><a href='https://vector-bsfa.com/2019/05/'>May 2019</a></li> 1837 <li><a href='https://vector-bsfa.com/2019/04/'>April 2019</a></li> 1838 <li><a href='https://vector-bsfa.com/2019/03/'>March 2019</a></li> 1839 <li><a href='https://vector-bsfa.com/2019/02/'>February 2019</a></li> 1840 <li><a href='https://vector-bsfa.com/2019/01/'>January 2019</a></li> 1841 <li><a href='https://vector-bsfa.com/2018/12/'>December 2018</a></li> 1842 <li><a href='https://vector-bsfa.com/2018/11/'>November 2018</a></li> 1843 <li><a href='https://vector-bsfa.com/2018/10/'>October 2018</a></li> 1844 <li><a href='https://vector-bsfa.com/2018/09/'>September 2018</a></li> 1845 <li><a href='https://vector-bsfa.com/2018/08/'>August 2018</a></li> 1846 <li><a href='https://vector-bsfa.com/2018/07/'>July 2018</a></li> 1847 <li><a href='https://vector-bsfa.com/2018/06/'>June 2018</a></li> 1848 <li><a href='https://vector-bsfa.com/2018/05/'>May 2018</a></li> 1849 <li><a href='https://vector-bsfa.com/2018/04/'>April 2018</a></li> 1850 <li><a href='https://vector-bsfa.com/2018/03/'>March 2018</a></li> 1851 <li><a href='https://vector-bsfa.com/2018/02/'>February 2018</a></li> 1852 <li><a href='https://vector-bsfa.com/2018/01/'>January 2018</a></li> 1853 <li><a href='https://vector-bsfa.com/2017/12/'>December 2017</a></li> 1854 <li><a href='https://vector-bsfa.com/2017/11/'>November 2017</a></li> 1855 <li><a href='https://vector-bsfa.com/2017/10/'>October 2017</a></li> 1856 <li><a href='https://vector-bsfa.com/2017/09/'>September 2017</a></li> 1857 <li><a href='https://vector-bsfa.com/2017/08/'>August 2017</a></li> 1858 <li><a href='https://vector-bsfa.com/2017/04/'>April 2017</a></li> 1859 <li><a href='https://vector-bsfa.com/2017/03/'>March 2017</a></li> 1860 <li><a href='https://vector-bsfa.com/2016/07/'>July 2016</a></li> 1861 <li><a href='https://vector-bsfa.com/2016/04/'>April 2016</a></li> 1862 <li><a href='https://vector-bsfa.com/2016/03/'>March 2016</a></li> 1863 <li><a href='https://vector-bsfa.com/2015/12/'>December 2015</a></li> 1864 <li><a href='https://vector-bsfa.com/2015/11/'>November 2015</a></li> 1865 <li><a href='https://vector-bsfa.com/2015/07/'>July 2015</a></li> 1866 <li><a href='https://vector-bsfa.com/2015/04/'>April 2015</a></li> 1867 <li><a href='https://vector-bsfa.com/2015/03/'>March 2015</a></li> 1868 <li><a href='https://vector-bsfa.com/2014/12/'>December 2014</a></li> 1869 <li><a href='https://vector-bsfa.com/2014/09/'>September 2014</a></li> 1870 <li><a href='https://vector-bsfa.com/2014/07/'>July 2014</a></li> 1871 <li><a href='https://vector-bsfa.com/2014/06/'>June 2014</a></li> 1872 <li><a href='https://vector-bsfa.com/2014/05/'>May 2014</a></li> 1873 <li><a href='https://vector-bsfa.com/2014/04/'>April 2014</a></li> 1874 <li><a href='https://vector-bsfa.com/2014/03/'>March 2014</a></li> 1875 <li><a href='https://vector-bsfa.com/2014/02/'>February 2014</a></li> 1876 <li><a href='https://vector-bsfa.com/2014/01/'>January 2014</a></li> 1877 <li><a href='https://vector-bsfa.com/2013/10/'>October 2013</a></li> 1878 <li><a href='https://vector-bsfa.com/2013/08/'>August 2013</a></li> 1879 <li><a href='https://vector-bsfa.com/2013/05/'>May 2013</a></li> 1880 <li><a href='https://vector-bsfa.com/2013/04/'>April 2013</a></li> 1881 <li><a href='https://vector-bsfa.com/2013/03/'>March 2013</a></li> 1882 <li><a href='https://vector-bsfa.com/2013/02/'>February 2013</a></li> 1883 <li><a href='https://vector-bsfa.com/2013/01/'>January 2013</a></li> 1884 <li><a href='https://vector-bsfa.com/2012/12/'>December 2012</a></li> 1885 <li><a href='https://vector-bsfa.com/2012/11/'>November 2012</a></li> 1886 <li><a href='https://vector-bsfa.com/2012/10/'>October 2012</a></li> 1887 <li><a href='https://vector-bsfa.com/2012/09/'>September 2012</a></li> 1888 <li><a href='https://vector-bsfa.com/2012/08/'>August 2012</a></li> 1889 <li><a href='https://vector-bsfa.com/2012/07/'>July 2012</a></li> 1890 <li><a href='https://vector-bsfa.com/2012/06/'>June 2012</a></li> 1891 <li><a href='https://vector-bsfa.com/2012/05/'>May 2012</a></li> 1892 <li><a href='https://vector-bsfa.com/2012/04/'>April 2012</a></li> 1893 <li><a href='https://vector-bsfa.com/2012/03/'>March 2012</a></li> 1894 <li><a href='https://vector-bsfa.com/2012/02/'>February 2012</a></li> 1895 <li><a href='https://vector-bsfa.com/2012/01/'>January 2012</a></li> 1896 <li><a href='https://vector-bsfa.com/2011/12/'>December 2011</a></li> 1897 <li><a href='https://vector-bsfa.com/2011/11/'>November 2011</a></li> 1898 <li><a href='https://vector-bsfa.com/2011/10/'>October 2011</a></li> 1899 <li><a href='https://vector-bsfa.com/2011/09/'>September 2011</a></li> 1900 <li><a href='https://vector-bsfa.com/2011/08/'>August 2011</a></li> 1901 <li><a href='https://vector-bsfa.com/2011/07/'>July 2011</a></li> 1902 <li><a href='https://vector-bsfa.com/2011/06/'>June 2011</a></li> 1903 <li><a href='https://vector-bsfa.com/2011/05/'>May 2011</a></li> 1904 <li><a href='https://vector-bsfa.com/2011/04/'>April 2011</a></li> 1905 <li><a href='https://vector-bsfa.com/2011/03/'>March 2011</a></li> 1906 <li><a href='https://vector-bsfa.com/2011/02/'>February 2011</a></li> 1907 <li><a href='https://vector-bsfa.com/2011/01/'>January 2011</a></li> 1908 <li><a href='https://vector-bsfa.com/2010/12/'>December 2010</a></li> 1909 <li><a href='https://vector-bsfa.com/2010/11/'>November 2010</a></li> 1910 <li><a href='https://vector-bsfa.com/2010/10/'>October 2010</a></li> 1911 <li><a href='https://vector-bsfa.com/2010/09/'>September 2010</a></li> 1912 <li><a href='https://vector-bsfa.com/2010/08/'>August 2010</a></li> 1913 <li><a href='https://vector-bsfa.com/2010/07/'>July 2010</a></li> 1914 <li><a href='https://vector-bsfa.com/2010/06/'>June 2010</a></li> 1915 <li><a href='https://vector-bsfa.com/2010/05/'>May 2010</a></li> 1916 <li><a href='https://vector-bsfa.com/2010/04/'>April 2010</a></li> 1917 <li><a href='https://vector-bsfa.com/2010/03/'>March 2010</a></li> 1918 <li><a href='https://vector-bsfa.com/2010/02/'>February 2010</a></li> 1919 <li><a href='https://vector-bsfa.com/2010/01/'>January 2010</a></li> 1920 <li><a href='https://vector-bsfa.com/2009/12/'>December 2009</a></li> 1921 <li><a href='https://vector-bsfa.com/2009/11/'>November 2009</a></li> 1922 <li><a href='https://vector-bsfa.com/2009/10/'>October 2009</a></li> 1923 <li><a href='https://vector-bsfa.com/2009/09/'>September 2009</a></li> 1924 <li><a href='https://vector-bsfa.com/2009/08/'>August 2009</a></li> 1925 <li><a href='https://vector-bsfa.com/2009/07/'>July 2009</a></li> 1926 <li><a href='https://vector-bsfa.com/2009/06/'>June 2009</a></li> 1927 <li>
1927<a href='https://vector-bsfa.com/2009/05/'>May 2009</a></li> 1928 <li><a href='https://vector-bsfa.com/2009/04/'>April 2009</a></li> 1929 <li><a href='https://vector-bsfa.com/2009/03/'>March 2009</a></li> 1930 <li><a href='https://vector-bsfa.com/2009/02/'>February 2009</a></li> 1931 <li><a href='https://vector-bsfa.com/2009/01/'>January 2009</a></li> 1932 <li><a href='https://vector-bsfa.com/2008/12/'>December 2008</a></li> 1933 <li><a href='https://vector-bsfa.com/2008/11/'>November 2008</a></li> 1934 <li><a href='https://vector-bsfa.com/2008/10/'>October 2008</a></li> 1935 <li><a href='https://vector-bsfa.com/2008/09/'>September 2008</a></li> 1936 <li><a href='https://vector-bsfa.com/2008/08/'>August 2008</a></li> 1937 <li><a href='https://vector-bsfa.com/2008/07/'>July 2008</a></li> 1938 <li><a href='https://vector-bsfa.com/2008/06/'>June 2008</a></li> 1939 <li><a href='https://vector-bsfa.com/2008/05/'>May 2008</a></li> 1940 <li><a href='https://vector-bsfa.com/2008/04/'>April 2008</a></li> 1941 <li><a href='https://vector-bsfa.com/2008/03/'>March 2008</a></li> 1942 <li><a href='https://vector-bsfa.com/2008/02/'>February 2008</a></li> 1943 <li><a href='https://vector-bsfa.com/2008/01/'>January 2008</a></li> 1944 <li><a href='https://vector-bsfa.com/2007/12/'>December 2007</a></li> 1945 <li><a href='https://vector-bsfa.com/2007/11/'>November 2007</a></li> 1946 <li><a href='https://vector-bsfa.com/2007/10/'>October 2007</a></li> 1947 <li><a href='https://vector-bsfa.com/2007/09/'>September 2007</a></li> 1948 <li><a href='https://vector-bsfa.com/2007/08/'>August 2007</a></li> 1949 <li><a href='https://vector-bsfa.com/2007/07/'>July 2007</a></li> 1950 <li><a href='https://vector-bsfa.com/2007/06/'>June 2007</a></li> 1951 <li><a href='https://vector-bsfa.com/2007/05/'>May 2007</a></li> 1952 <li><a href='https://vector-bsfa.com/2007/04/'>April 2007</a></li> 1953 <li><a href='https://vector-bsfa.com/2007/03/'>March 2007</a></li> 1954 <li><a href='https://vector-bsfa.com/2007/02/'>February 2007</a></li> 1955 <li><a href='https://vector-bsfa.com/2007/01/'>January 2007</a></li> 1956 <li><a href='https://vector-bsfa.com/2006/12/'>December 2006</a></li> 1957 <li><a href='https://vector-bsfa.com/2006/11/'>November 2006</a></li> 1958 <li><a href='https://vector-bsfa.com/2006/10/'>October 2006</a></li> 1959 <li><a href='https://vector-bsfa.com/2006/09/'>September 2006</a></li> 1960 <li><a href='https://vector-bsfa.com/2006/08/'>August 2006</a></li> 1961 <li><a href='https://vector-bsfa.com/2006/07/'>July 2006</a></li> 1962 <li><a href='https://vector-bsfa.com/2006/06/'>June 2006</a></li> 1963 <li><a href='https://vector-bsfa.com/2006/01/'>January 2006</a></li> 1964 <li><a href='https://vector-bsfa.com/2005/03/'>March 2005</a></li> 1965 <li><a href='https://vector-bsfa.com/2004/05/'>May 2004</a></li> 1966 <li><a href='https://vector-bsfa.com/2003/07/'>July 2003</a></li> 1967 <li><a href='https://vector-bsfa.com/2001/11/'>November 2001</a></li> 1968 <li><a href='https://vector-bsfa.com/2000/03/'>March 2000</a></li> 1969 <li><a href='https://vector-bsfa.com/1998/07/'>July 1998</a></li> 1970 <li><a href='https://vector-bsfa.com/1995/09/'>September 1995</a></li> 1971 <li><a href='https://vector-bsfa.com/1993/10/'>October 1993</a></li> 1972 <li><a href='https://vector-bsfa.com/1992/12/'>December 1992</a></li> 1973 <li><a href='https://vector-bsfa.com/1992/02/'>February 1992</a></li> 1974 <li><a href='https://vector-bsfa.com/1991/04/'>April 1991</a></li> 1975 <li><a href='https://vector-bsfa.com/1990/12/'>December 1990</a></li> 1976 <li><a href='https://vector-bsfa.com/1989/06/'>June 1989</a></li> 1977 <li><a href='https://vector-bsfa.com/1987/10/'>October 1987</a></li> 1978 <li><a href='https://vector-bsfa.com/1986/02/'>February 1986</a></li> 1979 <li><a href='https://vector-bsfa.com/1984/06/'>June 1984</a></li> 1980 <li><a href='https://vector-bsfa.com/1982/10/'>October 1982</a></li> 1981 <li><a href='https://vector-bsfa.com/1981/08/'>August 1981</a></li> 1982 <li><a href='https://vector-bsfa.com/1980/12/'>December 1980</a></li> 1983 <li><a href='https://vector-bsfa.com/1978/11/'>November 1978</a></li> 1984 <li><a href='https://vector-bsfa.com/1977/04/'>April 1977</a></li> 1985 <li><a href='https://vector-bsfa.com/1975/09/'>September 1975</a></li> 1986 <li><a href='https://vector-bsfa.com/1974/04/'>April 1974</a></li> 1987 <li><a href='https://vector-bsfa.com/1973/05/'>May 1973</a></li> 1988 <li><a href='https://vector-bsfa.com/1972/06/'>June 1972</a></li> 1989 <li><a href='https://vector-bsfa.com/1970/04/'>April 1970</a></li> 1990 <li><a href='https://vector-bsfa.com/1966/08/'>August 1966</a></li> 1991 <li><a href='https://vector-bsfa.com/1965/01/'>January 1965</a></li> 1992 <li><a href='https://vector-bsfa.com/1963/07/'>July 1963</a></li> 1993 <li><a href='https://vector-bsfa.com/1962/08/'>August 1962</a></li> 1994 <li><a href='https://vector-bsfa.com/1962/04/'>April 1962</a></li> 1995 <li><a href='https://vector-bsfa.com/1961/12/'>December 1961</a></li> 1996 <li><a href='https://vector-bsfa.com/1961/10/'>October 1961</a></li> 1997 <li><a href='https://vector-bsfa.com/1960/12/'>December 1960</a></li> 1998 <li><a href='https://vector-bsfa.com/1960/09/'>September 1960</a></li> 1999 <li><a href='https://vector-bsfa.com/1960/06/'>June 1960</a></li> 2000 <li><a href='https://vector-bsfa.com/1960/04/'>April 1960</a></li> 2001 <li><a href='https://vector-bsfa.com/1960/01/'>January 1960</a></li> 2002 <li><a href='https://vector-bsfa.com/1959/10/'>October 1959</a></li> 2003 <li><a href='https://vector-bsfa.com/1959/04/'>April 1959</a></li> 2004 <li><a href='https://vector-bsfa.com/1958/12/'>December 1958</a></li> 2005 <li><a href='https://vector-bsfa.com/1958/10/'>October 1958</a></li> 2006 <li><a href='https://vector-bsfa.com/1958/08/'>August 1958</a></li> 2007 </ul> 2008 2009 </aside></div><!-- #secondary --> 2010 2011 </div><!-- #content --> 2012 2013 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