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SOL Rising
Number 11, November 1994
Interview
With A Vampire Author: Toronto’s Tanya Huff
1994 Aurora Awards
Canadian Science Fiction and Fantasy in 1993
Setting A Course For The Future: The Friends and TPL
Board Meet
Editorial Comment
An Interview with Glen Cook (Part I)
An Interview with Josepha
Sherman
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Interview With A
Vampire Author: Toronto’s Tanya Huff
by Mici Gold
I interviewed
Tanya Huff twice for this article. Once in person just before she spoke to
fans at the Merril Collection (November 1993); the second time over the
phone two weeks later because the tape recorder failed to record the first
time. Fortunately, the second interview was even better.
MG: A few things have changed
for you since you last "appeared" in SOL RISING: you're
not living in Toronto any more. Do you now have
that "quiet cottage" you talked about in the last article?
TH: What I have now is a three-bedroom
bungalow and 75 acres of land. It's quiet, not exactly a cottage. But I am
living out in the country like I planned and I am managing to write full
time.
MG: And do you find it's a lot
different writing where you are now as opposed to Toronto?
TH: It's a heck of a lot
quieter, that's one thing. I'm not being interrupted by Korean disco music
at two o'clock in the morning like I used to be in the old
apartment. There are a lot less distractions, a lot less excuses I can make
for not writing. I can't just wander down to the store, given that the
store is seven kilometers away. I have a lot more time to think about
things, to develop characters. And in spite of the fact that I said once I
started writing full time I wouldn't do what a lot of other writers I know
have done and suddenly start writing longer books, I found that my latest
book has been exactly two hundred manuscript pages longer than my next
longest.
MG: This is Blood Pact?
TH: No, God, no. This is Sing the Four Quarters. And
remember, I'm two books ahead of the latest book that's out there now…
It's hard for me to remember that when I say "my latest book,"
I'm referring to the one I'm writing, but the people I'm talking to usually
think I'm referring to the one that just came out.
MG: Do you find it very
different now, not being in Bakka?
TH: Well, sometimes I miss the
stimulus. Sometimes I get a little cabin fever, you know, days when I won't
talk to anyone but Fiona and the cat, and Uncle Albert. But, I don't miss
the distraction from the writing because there were, on the other hand,
days when you would come home from work at Bakka
and you had just spent the whole day talking science fiction and fantasy
and the last thing you wanted to do in the evening was do it some more. But
I miss the input, I miss knowing what's happening in the field. That was
the great thing about Bakka, you knew everything.
You knew what was coming out. You heard all the industry gossip. I mean, I
don't have a clue of what's come out in the last twenty months because we
don't have a book store here!
MG: The last book in the
"Blood" series, is just coming out now (Blood Pact, December '93).
TH: This is the book I've been
aiming for, right from the beginning. A lot of people seem to think it would
be an open-ended series, with Vickie and Henry and Mike just encountering
one supernatural foe after another. But I have always been aiming for an
end. There was a small chance it might have been five books, if I could
have figured out a way to work in a creature from the Rideau canal. So, they would have all
trekked up to Ottawa and save the Parliament buildings from something that
developed out of toxic waste, but it was just a little too hokey to work
with. So, this is the fourth and last book in the series.
MG: Absolutely last?
TH: Well, it's the last book in
this series. I may take the characters and begin a new series or write
another single book about them. But this particular series is ended,
closed, finito, done.
MG: A lot of us have wondered where
you actually got your inspiration for this series in the first place.
Because it is different from the fantasy you had written before.
TH: Well, while working in Bakka, I noticed that there were people who bought
every single vampire book that ever came out. I mean, they didn't care who
wrote it or what it was about. If there was a vampire in it, they wanted
it. Vampire fans are extremely loyal to their chosen genre. And I thought
to myself, "There's a market here!" And I was trying to save up
money for a down payment. So I wrote a vampire book. Now, I originally
started out to write a horror novel. But the first chapter written as a
horror novel was just awful. And Fiona read it and said,
this is really terrible. And so I rewrote it, and so instead of writing
a horror novel, I wrote a Tanya Huff novel, and it worked a lot better.
MG: What's the difference
between a horror novel and a Tanya Huff novel?
TH: I don't really write horror;
I don't use the standard horror cliches. I think
book four in this series is as close to horror as they come, but that's
mostly because I'm dealing with my own feelings and fears about death. But
just as there are certain specific things you do in any genre novel—I
mean, there are certain things the reader has every right to expect when
they pick up a high fantasy, say, or a contemporary fantasy—there are
certain things that they also expect when they pick up a horror novel, and
I can't do them. It's very difficult to define just exactly what they are,
but if you pick up a novel, you can say, yes, this is a horror novel. It's
that something that defines what goes on the spine of the book. And my
books just don't get that horror label.
MG: Do you think there's
something somewhat more gentle in yours?
TH: It's possible that's what
the difference is… What my books have is not so much of a gentle
quality but a hopeful quality. In my books, the bad guys will never win.
And I will never do that jerking around with emotions where somebody who
could be saved, isn't. There was a Daredevil
comic, way back in the early eighties, done by Frank Miller, where the
subplot was this kid's dog had been stolen, and they find it at the SPCA
(it's an American comic, so it wouldn't have been the Humane Society), but
at the very end of the comic, they arrive too late to rescue the dog and
the dog is put to sleep, killed. And the only reason they did that was,
well, life is like that sometimes. Sometimes life is "shitty."
Well, yes, sure, sometimes it is, but more times than that, life is
wonderful, and I don't think there's any particular reason why you can't
look at the good things instead of the bad things. It's like the rappers
who defend their lyrics by saying, "I just write what I see, man, I
look on the streets and this is what I see." Yeah, well, why don't you
see the other things? Why don't you see the good things? Why don't you see
the single mother who's fighting to make a life for her kid? Or why don't
you see the teenagers who get together and clean up the school yard, or
something like that? Why do you have to see the bad stuff? And, I just
think the more of us who see the good stuff and who pass it on, the better.
MG: Some of us have wondered why
you had retinitis pigmentosa as the particular
challenge that Detective Nelson is working with?
TH: I needed a disease, I needed a condition for Vickie that would mean
she had to leave the force. It was plot driven that she needed this
condition. She had to be forced away from the police but she still had to
be functional. So I was researching, trying to find something that would do
this, and I saw a television program about these bikers—motorcycle
gangs—for whom this has become their charity of choice. Every year
they do this big fair, with all these grizzled, leather-wearing tattooed
bikers who are working for charity, and what they're working for is
retinitis pigmentosa, this is what all the money
that's raised goes towards. And I thought, yeah, I can use that. And I
talked to my optometrist about it, and he actually spelled it out for me and
told me a bit about it and suggested a book I could look it up in. I looked
it up and found I could use it. But it was all because of this little TVO
or PBS program about these bikers who do this retinitis pigmentosa
charity work.
MG: You were also telling me
before about all the other times that you've needed to know something and
you've just been able to phone people up and they've been so helpful.
TH: People are extraordinarily
helpful if you ask them about something they do or something they're interested
in; of course they want to tell you. I mean, I have phoned various police
departments and asked them the most ridiculous questions and they have always
been incredibly helpful… if somewhat confused on occasion, but
incredibly helpful… Once you explain why you want to know this, they
really get right into it… For my third book, Gate of Darkness, Circle of Light, I needed a picture of a
police car to send down to the artist for the cover of the book, and I
could not find one anywhere. And I went down to police headquarters and I
had one poor police cadet practically tearing the place apart just to find
me a picture. And what I ended up doing was going out and taking a
photograph. In fact, I took an entire roll of photographs and sent that down…
I phoned the London detachment of the OPP and
asked them to describe the outside of their building, and they were really
helpful about it. In fact, I once called a nun, and told her I was writing
a story about a vampire in a graveyard at midnight and I needed the liturgical
Latin for "Christ is risen"; and she
kind of laughed and then she moved the phone away a little and she said
`Father, I think this one's for you!'"
MG: I think at this point, it's
a good time to ask about your new projects and what you're working on and
when we can look forward to seeing them.
TH: Well, the next one coming is
scheduled for December '94, but I have a short story before that. I have a
short story ("This Town Ain't Big
Enough") which is a direct sequel to Blood Pact coming up in an anthology sometime this winter. Now
I think the anthology's called Vampire
Detectives (edited by Martin Greenberg), but I'm not positive; that's
what it was called when I signed the contract, but that could have easily
been changed. My next book out is called Sing the Four Quarters, and it's a heroic fantasy, and I
suppose if it had to be compared to any of my earlier stuff, it's the most
like Firestone of any of them. It
can stand completely well on its own, but it's also the first book in a
very loosely tied-together trilogy; mostly, it's a book one and then one
and two, a duology set in the same myth of, which
I contracted and I'm working on the first book of those right now.
MG: And that's called The Fifth Quarter?
TH: The Fifth Quarter and No
Quarter, but those are working titles and those could easily change. In
fact, I think the contracted title was Five
Quarters for the first one. But it has, since I signed the contract two
short months ago, been changed to Fifth
Quarter. God knows what it's going to end up being called. I kind of
like Fifth Quarter. And I have
just sold the short story that I read at the Spaced Out Library, "The
Harder They Fall," to Marion
Zimmer Bradley's Fantasy Magazine… And Warner Books is doing The Best of Marion Zimmer Bradley's
Fantasy Magazine, which will include the Magdalene story, "Be It
Ever So Humble."
MG: And when will that appear?
TH: Last spring or early summer
('94) as far as I know, but they don't give the authors involved a whole
lot of information. If Marion had to sit down and tell
everyone what was happening, she wouldn't have any time to do the editing.
MG: I asked last time whether
you saw yourself staying with fantasy and the supernatural or whether you
had ideas of ever branching into either science fiction or main stream
fiction.
TH: Well, the problem with me
writing science fiction is, well, it's two-fold, actually, it's one:
science is changing so fast right now, that it would be very difficult to
find a cutting edge to stay on the top of. The other problem is my science
background is actually biology/botany… I even studied forestry for a
while, actually… The stuff I can actually understand are mostly the soft sciences. Physics and math will lose
me completely. Although I have to remember that, after reading The Proteus Operation by J. P.
Hogan, I almost thought I understood quantum mathematics! So, I doubt I
will ever write anything that could possibly be called hard science
fiction. There are a couple of ideas I have for space opera that I would
love to do, and I would dearly love to do either a Star Trek novel or a Deep Space Nine novel… I've
pitched two ideas, they both got dumped, which is
actually not a real problem, because I can use one of the ideas. I can
adapt it for something that isn't in the Star Trek universe, which is actually probably why it got
dumped, because it wasn't enough Star
Trek exclusive. And I'll just keep pitching ideas as I get them and
maybe someday I'll do one. I just love the shows…
MG: I have a question about your
presentation of the vampire, Henry Fitzroy. He's almost sort of sanitized,
a little bit "safe", but he's still a vampire, with all the supernatural
strengths and everything. Can you tell me how you came up with his
particular character?
TH: I don't see any reason why
you can't have vampires who are "sweeties"; it stands to reason
that if you can have vampires who are homicidal maniacs, you should be able
to have the other side of the coin. And Henry's just this nice guy who happens
to be a vampire. Umm, much of the characters are plot driven. I mean, they
act the way the plot demands they act. Conversely, the plot occasionally
goes in directions the characters demand the plot go, so... writing
conundrums, you know… I always get to where I'm going, but the way I
get there sometimes surprises me.
MG: You have a lot of different
kinds of love relationships in your books, from regular hetero-sexual
attraction to the three-way triangle between Vickie and the detective and
the vampire, and then in Firestone, there's
a very tender moment between the two men at the end.
TH: I think that it's the love
that's important. And I think it's very important—to me, anyway—that
love be present. I don't think the plumbing
matters a whole lot.
MG: I think also, whether you're
talking fantasy or detective-supernatural stuff, it's somewhat unusual to
see anything other than the standard he-man and willing maiden scenario.
TH: Oh well, I don't read that,
so I'm not going to write it! The whole point of writing fantasy is that
you're not stuck in those tight little "real world" parameters.
So you have the opportunity, or even perhaps the obligation, to
explore, to present things in other ways, to do allegories that may help
other people accept things differently, to put a different slant on things.
I think if you keep telling people good things over and over and over,
eventually, they've got to sink in… People learn by example. And the
examples they get… the examples that, as a writer, I put out, are
important; they're examples that say, you can be a he-man, greatest
swordsman in the land, alcoholic prince, and still love another man, and
have a tender moment with him. I think that's important. I think breaking
stereotypes is very important. I think we each have a responsibility to
leave the world a better place. And this is how I try to do it.
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1994 Aurora
Awards
Winnipeg, September 3, 1994
(At the Winnipeg Centennial Library and at Conadian)
Presented
by Robert Runte:
Fan Achievement (Fanzine): Under the Ozone Hole, Karl Johanson
and John Herbert
Fan Achievement
(Organizational): Lloyd Penney (Ad Astra)
Fan Achievement (Other): Jean-Louis Trudel,
promotion of Canadian SF
Presented
by George Barr:
Artistic Achievement: Robert Pasternak,
illustrations in ON SPEC, Aboriginal SF,
and Amazing Stories
Presented
by Annette Saint-Pierre:
Best Other Work in French: Les 42,210 Univers de la
Science-Fiction, by
Guy Bouchard (Le Passeur) [accepted by Joel ChampetierJ
Presented
by Judith Merril:
Best Other Work in English: Prisoners of Gravity (TVOntario)
[accepted by Robert J. Sawyer]
Presented
by Col. Marc Garneau:
Best Short Form Work in
French: "La
merveilleuse machine de Johann Havel", by Yves Meynard (Solaris 107)
Best Short Form Work in
English: "Just
Like Old Times", by Robert Sawyer (ON
SPEC, Summer 1993)
Presented
by Élisabeth Vonarburg:
Best Long Form Work in French:
Chronoreg, by Daniel Sernine (Quebec/Amerique) [accepted by Yves Meynard]
Presented
by Spider and Jeanne Robinson:
Best Short Form Work in
English: Nobody's Son, by Sean Stewart (Maxwell MacMillan)
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The following is a listing of the science fiction,
fantasy and speculative fiction works published by Canadians in 1993,
according to first the date of initial printing and then copyright. This
list is derived primarily from the nomination list for the 1994 Aurora
Awards, as compiled by Dennis Mullin and Ruth Stuart, with the assistance
of Claude Janelle, editor of L'Annee de la
Science-Fiction et du Fantastique
quebecois, and its staff; of Lorna Toolis and the staff at the Merril Collection; and also
of Peter Halasz, Lloyd Penney, and Jean-Louis Trudel
We welcome any additions or corrections. We invite all
authors, publishers, and other knowledgeable individuals to keep us
informed of works in the SF field by all Canadians so that we may publish
as complete and comprehensive a list as possible each year.
Books in English
- The Night Inside: A Vampire Thriller, Nancy Baker (Penguin)
- The Prism Moon, Martine Bates (Red Deer College Press)
- Bread of the Birds, Andre Carpentier
(Ekstasis Editions) [collection]
- Dreams Underfoot, Charles de Lint (Tor) [collection]
- Into the Green, Charles de Lint (Tor)
- The Stricken Field, Dave Duncan (Del Rey)
- Upland Outlaws, Dave Duncan (Del Rey)
- The Broken Sphere, Nigel D. Findley (TSR
Inc.)
- Seed of Darkness, Nigel D. Findley (Mayfair Games)
- Shadowplay, Nigel D. Findley (Penguin/ROC)
- Headhunter, Timothy Findley (HarperCollins)
- Deadly Vengeance, Stephen R. George (Zebra)
- Virtual Light, William Gibson (Seal)
- Blood Lines, Tanya Huff (DAW)
- Blood Pact, Tanya Huff (DAW)
- The Darker Passions: Dracula, Nancy Kilpatrick
(Masquerade Books)
- Green Grass Running Water, Thomas King
(HarperCollins)
- One Good Story, That One, Thomas King
(HarperCollins) [collection]
- The Darker Passions: Dracula, under the name of Amarantha Knight (Masquerade Books) [see:
Kilpatrick]
- The Black Bonspiel of Willie MacCrimmon,
W. 0. Mitchell (McClelland &
Stewart)
- The Flight of the Stoneman's
Son, Terence
Munsey (Munsey
Music)
- The Holder of the World, Bharati Mukherjee
(HarperCollins)
- Alien Nation: The Day of Descent, Judith and Garfield Reeves-Stevens (Pocket
Books)
- The Callahan Touch, Spider Robinson (Ace)
- Lady of Mercy, Michelle Sagara
(Del Rey)
- Fossil Hunter, Robert J. Sawyer (Ace)
- WW III: Asian Front, Ian Slater (Fawcett)
- Nobody's Son, Sean Stewart (Maxwell MacMillan)
- Prince of Sparta, S.M. Stirling & D.Drake (Baen)
- The Steel, S.M. Stirling
& D.Drake (Baen)
- The Initiation of P.B. 500, under the name of Kyle
Stone (Masquerade Books) see: Soles
- The Initiation of P.B. 500, Caro Soles (Masquerade Books)
- The Nine Gods of Safaddné,
Antony Swithin
(Fontana)
- The Baie Comeau Angel and Other Stories, Wilfred Watson (NeWest) [collection]
- The Singing Sword, Jack Whyte
(Viking)
- Harvest, Robert Charles Wilson (Bantam Spectra)
Note:
The "TekWar" novel by William Shatner have been excluded as having been mostly
written by a non-Canadian, Ron Goulart, but could
be added to the list since they are not entirely devoid of Canadian
content.
Additions: For 1990, add: WW III, Ian Slater (Fawcett). For
1991, add: WW III: Rage of Battle, Ian
Slater (Fawcett), and WW III: World
in Flames, Ian Slater (Fawcett). For 1992, add: Out of Nippon, Nigel D. Findley (West End Games), 2XS, Nigel D. Findley (Penguin/ROC),
WW III: Arctic Front, Ian Slater
(Fawcett), and WW III: Warshot, Ian Slater (Fawcett).
Short Fiction in English
- "Heart in a
Box", Lynne Armstrong-Jones (Sword
& Sorceress X, DAW)
- "Love of the
Banshee", Lynne Armstrong-Jones (Towers of Darkover, DAW)
- "Changeling
Child", Alison Baird (ON
SPEC V. 5#2)
- "The Dragon
Door", Alison Baird (ON
SPEC V. 5#3)
- "The Marilyn
Machine", Bruce Barber (ON
SPEC V. 5#2)
- "Distant Seas",
Robert Boyczuk (ON SPEC V. 5#3)
- "Falling",
Robert Boyczuk (ON SPEC V. 5#1)
- "Jazz
Fantasia", Robert Boyczuk (ON SPEC V. 5#4)
- "Also
Starring", Cliff Burns (Year's
Best Fantasy & Horror, St Martin's Press)
- "RSVP", Cliff
Burns (The Silver Web #10)
- "Place of
Meeting", Cliff Burns (Air
Fish, Cat's Eye Press)
- "Shipwrecked on the
Isle of Lost Souls", Cliff Burns (Canadian Fiction Magazine, Nov.)
- "The Cycle of
Life", Cliff Burns (Not One
of Us, #11)
- "Something in the
Air Tonight", Cliff Burns (The
Stake, #3)
- "Michael in the Forest", Bruce Byfield (ON
SPEC V. 5#3)
- "Die, LoreLei", Michael Coney (F&SF, May)
- "Sophie's
Spyglass", Michael Coney (F&SF,
Feb.)
- "The Bone
Woman", Charles de Lint (F&SF,
Aug.)
- "Paperjack",
Charles de Lint (F&SF, July)
- "Cars Swing",
Cory Doctorow (Air Fish, Cat's Eye Press)
- "A Four Letter
Word", Ivan Dorin (ON SPEC V. 5#4)
- "Family
Harmony", M.A.C. Farrant (ON SPEC V. 5#4)
- "Fish", M.A.C. Farrant (ON
SPEC V. 5#1)
- "Motherlove",
Leslie Gadallah (ON SPEC V. 5#3)
- "D'awn
Thinks", Preston Hapon
(ON SPEC V. 5#3)
- "The Dictates",
Vaughn Heppner (Writers of the
Future: IX, Bridge Pub.)
- "Distant Seas", incorrectly
credited to Wesley Herbert (ON SPEC
V. 5#3) [see: Boyczuk]
- "The
Boomerang", Michael Hetherington (ON SPEC V. 5#1)
- "The Intercourse
Interface", Evan Hollander (Technosex, Circlet Press)
- "First Love, Last
Love", Tanya Huff (MZB's Fantasy, #21)
- "Nothing Up Her
Sleeve", Tanya Huff (Amazing
Stories, Feb.)
- "Birth Rite",
Marian L. Hughes (ON SPEC V.
5#2)
- "Godeaters",
Jason Kapalka (ON SPEC V. 5#1)
- "The Power of
Faith", Jason Kapalka (ON SPEC V. 5#3)
- "The True and Sad
Story of Lena the Scream-Cleaner", Jason Kapalka (ON
SPEC V. 5#2)
- "Dead Shot",
Nancy Kilpatrick (Prisoners of
the Night, #7)
- "I Am No
Longer", Nancy Kilpatrick (Deathport, Pocket Books)
- "Memories of el Dia de los Muertos", Nancy Kilpatrick (Dead of Night, #8)
- "Mother Mountain
Waits", Nancy Kilpatrick (Crossroads,
#8)
- "The Power of
One", Nancy Kilpatrick (Sinistre, Mar.)
- "Sustenance",
Nancy Kilpatrick (After Hours,
#18)
- "Truth", Nancy
Kilpatrick (Deathrealm,
#20)
- "Virtual
Unreality", Nancy Kilpatrick (Crossroads,
#7)
- "Whitelight",
Nancy Kilpatrick (Bizarre Bazaar
99, Tal Publications, Mar.)
- "Virginia's Next Christmas",
A.R. King (ON SPEC V. 5#4)
- "Snatched", Dan
Knight (ON SPEC V. 5#3)
- "Mexican
Fiesta", Nicholas de Kruyff (ON SPEC V. 5#2)
- "A Vision of Matta", Lydia Langstaff
(Testament of Lael, Maggie Cooper Small Press)
- "Walk to Bryten", Sally McBride (Matrix)
- "Sommelier",
Catherine MacLeod (ON SPEC V.
5#4)
- "Body Solar", Derryl Murphy (ON
SPEC V. 5#4)
- "Home", Luke
O'Grady (ON SPEC V. 5#4)
- "Andor's
Whale", John Park (Tomorrow
Speculative Fiction, Oct.)
- "The Immediate
Family", Spider Robinson (Analog,
Jan.)
- "The End of the Painbow", Spider Robinson (Analog, July)
- "Just Like Old
Times", Robert J. Sawyer (ON
SPEC V. 5#2)
- "A Swim in the
Rocks", Keith Scott (ON
SPEC V. 5#3)
- "Three Moral
Tales", D.L. Schaeffer (ON
SPEC V. 5#1)
- "Anna's Last
Letter", John Skaife (ON SPEC V. 5#1)
- "Los Muertos", Lisa Smedman
(Writers of the Future: IX, Bridge
Pub.)
- "Three Happy
Families", Heather Spears (Books
in Canada, Mar.)
- "The Triage
Conference", Hugh A.D. Spencer (ON SPEC V. 5#2)
- "Kissing
Hitler", Erik Jon Spigel (ON SPEC V. 5#1)
- "Child of the
Bomb", T. Robert Szekely (ON SPEC V. 5#4)
- "Deathbed", Edo
van Belkom (Atsatrohn, V. 3#1.5)
- "Induction Center", Edo van Belkom (Haunts,
#26)
- "Megzilladon,
Two Thumbs Down", Edo van Belkom (Alternate Hilarities, #4)
- "Scars of
Distinction", Edo van Belkom (Alternate Hilarities, #1)
- "Seasons
Meeting", Edo van Belkom (Midnight Zoo, V. 2#6)
- "S.P.S.", Edo
van Belkom (Tails of Wonder, #1)
- "Teeth", Edo
van Belkom (Aberations, #13)
- "Underground",
Edo van Belkom (The Vampire's Crypt, Spring)
- "The Wait", Edo
van Belkom (Atsatrohn, V. 3#3)
- "War Cry", Edo
van Belkom (Deathport, Pocket Books)
- "Chambered
Nautilus", Élisabeth Vonarburg (Amazing
Stories, Winter)
- "The Knot", Élisabeth Vonarburg (Amazing Stories,
Mar.)
- "In Dreams",
Andrew Weiner (Asimov's SF, Dec.)
- "Penis Envy",
Lyle Weis (ON SPEC V. 5#1)
- "Angeldrome",
Bill Wren (ON SPEC V. 5#2)
Books in French
- La Grotte de Toubouctom, Michel Belil
(Quebec/Amerique) [collection]
- Rodolphe Stiboustine, Jacques Benoit (Boreal,)
- Visa pour le réel, Bertrand Bergeron (XYZ Editeur)
- Esprit, es-tu là?, Paule Briere (Boreal)
- Arrete de faire le clown, Yvon Brochu
(Quebec/Amerique)
- L'Oiseau de feu (2-B), Jacques Brossard (Lemeac)
- Matusalem, Roger Cantin (Boreal)
- Le Jour-de-Trop, Joël Champetier
(Paulines)
- Le Voyage de la Sylvanelle,
Joël Champetier (Paulines)
- Les Mirages du vide, Bernard Chapleau (Boreal)
- Je viens du futur, Denis Côté
(Pierre Tisseyre) [collection]
- La Licorne des neiges, Claude D'Astous (Pierre
Tisseyre)
- L'Incroyable Destinée, Marie Decary
(La courte echelle)
- Le Zoo hanté, Jacques Foucher (Heritage)
- La Porte, Marc Godard (Guy Saint-Jean
ed.)
- Destinées, Jean-Pierre Guillet
(Heritage) [collection]
- Les Mésaventures d'un magicien, Sylvie Högue et Gisèle Internoscia (Héritage)
- La Vie qui penche, Louis Jacob (L'Hexagone)
- Le Retour du loup-garou, Suzanne Julien (Pierre Tisseyre)
- Le Comédon, François Landry (Triptyque)
- Monsieur n'importe qui,
Jacques Lazure (Quebec/Amerique)
[collection]
- Maléfices, Bernard-Eric Malouin
(Odette) [collection]
- Les Mots du silence, Johanne Massé
(Paulines)
- Copie Carbone, Charles Montpetit (Quebec/Amerique)
- L'Emprise de la nuit, Stanley Péan (La courte echelle)
- La Bizarre aventure, Francine Pelletier, (Paulines)
- La Planète du mensonge, Francine Pelletier (Paulines)
- La Couleur nouvelle, Daniel Sernine (Quebec/Amerique)
[collection]
- Les Portes mystérieuses, Daniel Sernine (Héritage) [collection]
- Le Secret le mieux gardé, Jean-Frangois Somain (Pierre Tisseyre)
- La Fiancée d'Archi, Florent Veilleux
(Quebec/Amerique) [collection]
- Les Contes de la Chatte rouge, Élisabeth Vonarburg
(Quebec/Amerique)
Short Fiction in French
- «Un ange
sur la commode», Denis Alie
(Ébauches
9)
- «Homme
dans la grange», Natasha Beaulieu (Stop 129)
- «L'Exhibitionniste,
le voyeur-souffleur et la poupée gonflable»,
Jacques Bélanger (Moebius 56)
- «Foetalité»,
Sylvie Bérard (imagine... 64)
- «Le Complexe
d'Orphée», Evelyne
Bernard (imagine.. 62)
- «Le Huitième
registre», Alain Bergeron (Solaris 107)
- «Si
la vie vous intéresse»,
Guy Bouchard (imagine... 64)
- «L'Éclosion»,
Lise Bourassa (imagine... 62)
- «Dieu,
un, zéro», Joël Champetier (L'Année de la Science-fiction et du fantastique québécois 1990, Le Passeur)
- «Les Mirages du vide», Bernard Chapleau
(Boreal)
- «L'Impressionnisme>,
Pierre Chatillon (Écrits du
Canada français 77)
- «Le Lancement»,
Pierre Chatillon (É'crits du
Canada français 77)
- «Colères!»,
Diane-Monique Daviau (XYZ 43)
- «La Cage>, Geneviève De Celles (Stop 130)
- «Babel Airport», Adrien
Delage (Solaris
104)
- «Le Monde est un parc où la folie est le dernier plaisir»,
Guillaume Demers (Solaris 106)
- «Genèse»,
Paul Desroches (Liberte 206)
- «Nous
vivons une époque
formidable», Joseph Jean Rolland Dubé (XYZ
35)
- «Shubert
D210», Michel Dufour (XYZ 35)
- «L'étrangleur>,
Benoît Dutrizac (Stop 129)
- «Le Dieu
bleu, Bertrand Lachance (Moebius 56)
- «Chacun
son crédo», Gaston Lacroix
(Lumière
d'encre, Vol. 9, #4)
- «Le Point Cassère», Michel Lamontagne
(L'Année
de la Science-fiction et du fantastique québécois 1990,
Le Passeur)
- «Ceux
qui viennent d'en
bas», Stéphane Langlois
(Solares
106)
- «La Mission», Denis Marcotte (imagine...
62)
- «Sans arrêt»,
Jean-Pierre Mercé (Stop 128)
- «La Merveilleuse
machine de Johann Havel», Yves Meynard (Solaris
107)
- «Le Sang et l'oiseau», Yves Meynard (Solaris 105)
- «Retour»,
Natacha Monnier
(XYZ 35)
- «La Débâcle
du Vendredi
Saint», Jean Morisset (Moebzus 56)
- «L'Antre
des égarés», Salvator
Saso (XYZ 33)
- «Un émoi
au palais», Michel Saucier (Moebius 56)
- «Pas de paradis... sans l'enfer
(I)», Danielle Tremblay (imagine...
64)
- «Les Ponts
du temps», Jean-Louis Trudel
(Solaris 107)
- «Un papillon
à Mashak»,
Jean-Louis Trude1 (Solaris 105)
- “Un appât exceptionnel»,
Lorraine Vincent
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