People in a flooded street go about their lives

Open Call: Bad Weather

Climate Stories of Disaster and Perseverance

Deadline Monday, November 8th, 2021

A hurricane front looms like a collapsing wall out at sea. A blistering heat wave melts asphalt, leaving it as sticky as the air. A drought has turned wide fields to plains of dust. Raging forest fires seal off all routes into a city. The weather is changing, and not for the better.

The London Reader is issuing an open call for creative climate writing about the weather, disaster, and perseverance.

Bad Weather is an upcoming collection of stories, poetry, and art about people facing the immediate effects of climate change in harrowing moments and their daily lives. Fiction and non-fiction submissions can feature historical, near-future, or present-day weather events, but the focus should be on characters or personal experience. Writing about life in the face of bad weather can be frightening, absurd, funny, or poignant, and potentially all four.

Possible Prompts

  • Spring floods destroy an old family cottage with three generations of memories
  • A social media intern updates live from ground zero of a hurricane
  • A town in Wales rallies together to repair an old seawall after the government abandons them
  • California wildfires force a young couple to move their hand-built tiny home
  • Supply shortages disrupt the arrival of bottled water to a drought-stricken town
  • A Floridian family flees through swamps as the peninsula is swallowed by storm surges
  • A woman experiencing a midlife crisis hopes to see a tornado with her own eyes
  • A character’s dream garden business survived the recent flood but is now uninstallable and at risk
  • Young friends attempting to sail from the Canary Islands to the Caribbean are struck by a freak winter hurricane and become lost at sea
  • Prisoners are conscripted to fight wildfires to save the lives of people who forgot about them
  • A German man’s houseboat serenely floats across town in a devastating deluge
  • Two very different people meet for the first time in an evacuation shelter

What to submit: Creative works can be stand-alone pieces or collections, but should generally be fewer than 5,000 words or no more than 3 connected poems per submission. Multiple submissions, simultaneous submissions, and previously published submissions are welcome. Artwork should be favourably viewed on a tablet or single A5 page

How to submit: The London Reader submission portal for this issue.

If you have any questions or difficulty submitting, email coordinator@LondonReader.uk. (The submission form requires a Google account, and you can submit by email if you do not have one.

The deadline for submitting on this theme is November 8th, 2021.

(Image: Flood by J Lloa)

Dreams of the Moon Cover

Dreams of the Moon

Lunar stories of our past and future

Since before even the first words were written, the cosmic pull of the Moon has captivated humanity. It has shaped our myths, our night lives, our songs, our symbols, and indeed, our stories.

Arrive on a Moon colony under revolt against its corporate owners. Befriend a strange, yellow-eyed hound. Witness the divine meeting of Beninese celestial spirits. Uncover a suspicious murder following the 1969 Moon landing. Take a weightless tourist trip to the lunar surface. Feel the call of the tides under the Moon’s spectral glow.

This issue of the London Reader explores the Moon—both its effect on our lives and our longing for it—through short stories of our past and future from Paulene Turner, Matt Slaybaugh, Amy B Moreno, Maria Donovan, Nathan Alling Long, Sarah Oluwatomi Michaels, Pippa Gladhill, Emma Raymond, and Magdalena Stefanni.

The collection includes a special extended interview with Chris Hadfield—the former commander of the International Space Station, YouTube sensation, and author of the forthcoming novel The Apollo Murders. It also features an interview with Susan Beth Pfeffer, the New York Times bestselling author of Life as We Knew It.

Rounding out the issue is poetry and art exploring our intimate relationship with the Moon by Alison Burns, Dominic Weston, Finola Scott, Ruswa Fatehpuri, S Rupsha Mitra, Sait Mingü, Felicia Simion, Roger Leege, Gemma Campbell, and Susan diRende—including a poem by Lisa Rosenberg, the former space program engineer and poet laureate, and poems by one of Italy’s most celebrated contemporary poets, Chandra Livia Candiani, translated to English for the first time by Roy Duffield and Elisabetta Taboga.

Dreams of the Moon seeks to find the place that the Moon holds in our imaginations, in our hopes, and in our fears. The Moon has shaped our past and continues to shape our future. What now does the Moon mean to us, and how will the stories we tell about the Moon today shape our future on its surface?

Print and electronic subscriptions available now on Patreon!

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Sign up to Patreon to check out the latest issue in PDF.

If you prefer a mobile reader, like Kindle, first, get the Kindle app:

Once you have the app, or if you already have a Kindle device, check out the free trial of the London Reader with one click in the Amazon store:

Do you live outside of these areas? Get the PDF of the latest issue free on Patreon.

To read a previous issue, donate an amount of your choice, and receive a download link to the PDF:

The London Reader is a cooperative magazine. Your donation supports the writers, artists, and collaborators who made the issue.

Raves & Resistance Cover Image

Raves & Resistance

Counterculture Stories

High in a volcano mountain-crater, a woman emerges from her clothes and slips into a festival lake and into a new moment. A punk show brings together the pierced bodies and studded minds of young radicals in a slam dance of social rejection and self discovery. A former revolutionary bomber is exposed by a more recent tragedy. An artist from 1960s Moscow looks for an audience outside the legacy of East and West. A student of the protests against the Vietnam War remembers the National Guard helicopter dropping tear gas as her final exam.

All culture begins first as counterculture. The new always arises as a rejection of the old. What is known, what is possible, is always discovered by people who push at its limits. Revelry and rebellion explore new social territory and leave cultural paths for others to follow.

This issue of the London Reader features counterculture stories by award-winning author Ewan Morrison; the Arthur C Clarke and Philip K Dick Award-winner Gwyneth Jones; the notable Patty Somlo; Peter Gallagher; the famed Russian and Hollywood filmmaker Andrei Konchalovsky; Vicki Derderian; and Stephen O’Donnell. Its pages are also filled with words, poetry, and art by Kathryn Paulsen, Mark Kirkbride, Roy Duffield, Allison Whittenberg, Bryon MacWilliams, Lucia Galloway, Lorette C Luzajic, Tim Fowler, Montina Guiry, Sean Christopher Ward, Calvin Lai, and Bertone Studio, by Michiyo & Eduardo. Finally, the creative work in this volume is joined by interviews with James St. James, iconic television personality and author of Party Monster; Cat Marnell, former party-girl and New York Times bestselling-author of the memoir, How to Murder Your Life; and Ayelet Waldman, respected essayist and author of A Really Good Day. They open up about pushing back, setting trends, and seeing the world change around them.

The revolution is in every party, every festival, every political rally, every protest, and indeed, every place where people come together and connect outside the old architecture of state and capital. The stories in this volume of the London Reader are about people finding those moments of rebellion—whether small and personal in music and festivals, or big and revolutionary—and forging brave new paths into the future.

Print and electronic subscriptions available now on Patreon!

How to read the latest issue FREE
Sign up to Patreon to check out the latest issue in PDF.

If you prefer a mobile reader, like Kindle, first, get the Kindle app:

Once you have the app, or if you already have a Kindle device, check out the free trial of the London Reader with one click in the Amazon store:

Do you live outside of these areas? Get the PDF of the latest issue free on Patreon.

To read a previous issue, donate an amount of your choice, and receive a download link to the PDF:

The London Reader is a cooperative magazine. Your donation supports the writers, artists, and collaborators who made the issue.

Over the Cliff

Travel Stories from Europe Beyond Brexit

“There is no need for a passport when you arrive in Melilla from Spain. This is Spain!” says the officer. 
“And when I go through the fence?”
“That would be a different matter,” he says, looking uncomfortable. As an afterthought, he adds, “You cannot use euros beyond the fence!”

Over the white cliffs of Dover, Europe is moving on without the United Kingdom. This volume visits the continent’s high mountain roads, small city streets, and new borders through travel writing, short fiction, and poetry. These travel stories from Europe beyond Brexit will make you sigh with content, gasp with surprise, pause with reflection, and laugh with delight.

This collection includes stories by Mark Anthony Jarman, Coreen Grant, Ewan Morrison, Andriana Minou, Billy Letford, Alex Russell, Renee C Winter, Kieron Blake, and Ian McKenzie. They are joined by the poetry of Katrina Dybzynska, Timothy Dodd, VC McCabe, Susanna Lang, Deborah Tyler-Bennett, and Peter David Goodwin as well as artwork from Monsie, Christopher McColl, and Ann Marie Sekeres. This volume also features interviews with the editor of the Wild Women anthology, Open Book’s Mariella Frostrup; the international-bestseller travel author, Sara Wheeler; and one of most respected travel writers, Pico Iyer.

With Brexit, the borderless map of Europe has become a little bit smaller. But for Brits, their backyard is now a whole lot smaller. Yet travel too is changing with increasing emissions and the climate crisis. Jet planes are out; trains and electric vehicles are in. Novelty international holidays are going; longer exchanges are here to stay. And “that is the essence of travel writing,” explains Mariella Frostrup. The travel stories in this volume take us out our front door, over the cliffs of Dover, and into a new day.

Print and electronic subscriptions available now on Patreon!

How to read the latest issue FREE
Sign up to Patreon to check out the latest issue in PDF.

If you prefer a mobile reader, like Kindle, first, get the Kindle app:

Once you have the app, or if you already have a Kindle device, check out the free trial of the London Reader with one click in the Amazon store:

Do you live outside of these areas? Get the PDF of the latest issue free on Patreon.

To read a previous issue, donate an amount of your choice, and receive a download link to the PDF:

The London Reader is a cooperative magazine. Your donation supports the writers, artists, and collaborators who made the issue.

Cyberpunknow Cover

#cyberpunkNOW Available in Print!

Put down your phone and sync in.

If you’ve been waiting to hold a print copy of the London Reader, the first standalone Anthology Edition is here in time for the holidays!

Introducing #cyberpunkNOW and the Dystopian Moment, The London Reader Volume One! Available now from Amazon in paperback as well as on kindle.

Alongside cyberpunk stories from the present and near future, #cyberpunkNOW and the Dystopian Moment features interviews with the founders of cyberpunk and sci-fi greats, William Gibson, Bruce Sterling, and Kim Stanley Robinson. Volume One also includes a brand-new dystopian tech-thriller story from Lena Ng, author of Under an Autumn Moon.

The London Reader is cooperatively produced, so #cyberpunkNOW is owned by its contributors. When you buy a copy, you get a great collection of stories, poetry, and interviews, and the authors inside share the purchase price.

Read great writers. Support great writing. 

Check out #cyberpunkNOW…

Cyberpunk in 2020 Cover

Cyberpunk 2077: What does the game say about the world today?

Interview with Jakub Szamałek, Lead Writer for Cyberpunk 2077

JAKUB SZAMAŁEK is a Polish novelist and video game writer. He has written six books in his native polish and now works as a writer for the game company CD Projekt RED, which produced The Witcher series and recently Cyberpunk 2077. He is a graduate of Oxford University and holds a doctorate from the University of Cambridge. We reached out to Szamałek to ask him about the influence of cyberpunk fiction on the game, the shape of game narratives, and how he sees the cyberpunk genre now.


The London Reader: Your first crime novels were informed by history, but since then you’ve turned to exploring the impact of new technologies on our lives. What led you from history into writing novels (and games) that explore the near and coming future?

Jakub Szamałek: For a long time, I had very little interest in new technologies. Whenever I’d hear anything about megabytes, megabits, or megahertzes, I’d just zone out of the conversation. I assumed, naïvely, that if I don’t concern myself with new technologies, they won’t play a big part in my life. This was flat out wrong, of course; the internet has spilled out of the computers and permeated every aspect of our everyday existence.

I remember the very moment I realized this, the end of my sweet ignorance. I was on parental leave, pushing the pram with my sleeping seven-month-old daughter, and listening to the radio. A soft-spoken cybersecurity researcher told the shocked interviewer how paedophiles use new technologies to share pictures and videos of abused children or to find and groom their next victim. I felt my skin crawl; the contrast between what I saw in front of me, my sleeping daughter, and what I heard, was harrowing. I realized that I can no longer afford to be ignorant, that I need to know more about the net that surrounds us, ever more tightly, if not for my own sake, then for the sake of my daughter.

When I got back, I emailed a few friends of mine—programmers, white hat hackers, cryptographers—and asked them how can I catch up, what should I watch and read. The more I learned, the more I wanted to know. Since then, I’ve trained with open intelligence gurus, consulted malware analysts and gone to an academic conference on AI at one of the world’s top universities. Though I’m no expert, I’ve grasped enough to realize that new technologies have, in a very short span of time, deeply affected our society, and most of us don’t even realize it. Most people still think—just like I did, a few years back—that new technologies are a niche interest, a hobby for nerds. I felt that we need a wake-up call, but one that would be as accessible as possible, with a wide reach. And so I started writing Hidden Web, a series which combines deep research with a fast-paced tech-thriller.

LR: Hidden Web tracks the jarring impact of technology through shocking scenes like a live-streamed murder and through immediate issues such as fake news, troll-farms, and the influence of money and social media on political campaigns. What drew you to these themes? Are you concerned about the impact technology will have on democracy? Have any of these pressing subjects made their way into your work on Cyberpunk 2077?

Jakub Szamałek: Well, after 2016 it’s hard not to be concerned about the impact of technology on democracy. Its influence is multifaceted: it changed how news stories are written, shared and consumed, completely redefined political campaigning and made outside meddling in electoral processes shockingly easy and cheap. And all the while, Silicon Valley behemoths pretend that they don’t see the problem and are powerless to fix it. Worryingly, it doesn’t look like things are going to improve any time soon. I agree wholeheartedly with Carole Cadwalladr that in the current internet landscape, liberal democracies cannot function normally.

But what I’m personally most worried about is the death of privacy. It’s already happened; we just haven’t realized it. In the era of Big Data and AI, even the most innocuous data can be used to uncover our secrets and decipher our most intimate thoughts. Just a few data points from social media are enough to determine our sexual orientation; a few hundred—a data trail generated over just a few days of activity—is sufficient to create a detailed psychological profile. Purportedly “anonymous” data collected by internet providers and mobile advertisers can be deanonymized with shocking ease and then used to follow our every move online—and in the real world too. Pictures of our faces, taken by omnipresent cameras, can be effortlessly tied to our identities, as demonstrated by the Clearview AI scandal. We’re creating an infrastructure for automated mass surveillance, assuming it will not be put to use. I very much hope we will not be proven wrong.

We covered some of these topics in Cyberpunk 2077—but the game universe is not an attempted extrapolation of our own world. It has its own, unique feel. Some of the topics we tackle in the game will definitely feel familiar, though—like environmental degradation or extreme social stratification and its consequences. At first glance, the world of Cyberpunk 2077 is colourful and exciting, but it has a grim, disturbing undercurrent. It’s a future I hope will never materialize.

LR: You’ve written fiction for both novels and for popular video games, like The Witcher and now Cyberpunk 2077, both originally inspired by novelized fiction. Which kind of story do you prefer to tell? And what do you find the most engaging with each medium?

Jakub Szamałek: I love working in both! What I enjoy the most in crafting narratives in video games is the nonlinearity. The player isn’t a passive consumer; she’s given agency to change the course of the story. Figuring out how to split the storyline—and where each of the branches should lead—is not unlike solving a hard puzzle: challenging, but uniquely satisfying. The best thing about writing novels, in my experience, is having total control over the story. There are no budget constraints to consider, no technical difficulties to overcome; anything is possible.

LR: The novel is an art form that is just a few centuries older than video games, and we see games such as Cyberpunk 2077 pushing narrative into collaborative spaces responding to player choices. The medium has now come full circle and there’s a whole genre of novels based around the game experience (LitRPG). Aside from the obvious reader interaction, what do you find are the main differences between telling a story in a novel and in a video game? What do the two media have in common?

Jakub Szamałek: In video games, players identify very deeply with the protagonist they control—much more so, I think, than in linear narratives, like books or movies. And no wonder: after all, they are drawn in, given the reins. Players feel like they star in the story; the boundary between them and the character on the screen dissipates almost completely. This has tremendous consequences for storytelling. For example, most readers will get through a scene in which the main character does something ethically questionable, eg tortures his antagonist, without moral qualms; they might feel disturbed or even disgusted, but they don’t assume personal responsibility for the hero’s actions. But if you put the pad in the player’s hands and ask her to actively do the same, she will feel extreme discomfort and might prefer to quit the game than to continue the story. To give another example, a book might feature a confused protagonist, who lost his or her memory, doesn’t know what to do next, and stumbles from one event to another, largely by chance. Video game players would likely find this extremely annoying since they assume the role of the protagonist; they need to know what they have to do and why.

Of course, there are many commonalities. The building blocks are the same. Irrespective of the medium, characters need to be relatable, dialogue lines must evoke emotional reactions, and plotlines have to be resolved by the end of the story.

LR: Cyberpunk is often defined as ‘high tech; low life’ and by William Gibson, the grand-father of cyberpunk’s famous quote, “The street finds its own uses for things.” Cyberpunk in part grew out of rising inequality in the 1980s that saw punk culture rebel against corporate influence. Inequality and the influence of corporations have only grown worse since then. In many ways, we’ve come to live in the world envisioned by the early cyberpunk authors, as your own novels explore. So in 2020, what is cyberpunk? What does cyberpunk represent to you? And what is cyberpunk in 2077?

Jakub Szamałek: If I were to define cyberpunk as a genre, I’d say it explores what a sudden technological advance does to a broken society. It imagines a world where the social contract has been torn to pieces and everyone—regular people, governments, corporations—fights for themselves with cutting edge technology at their disposal. The results are rarely pretty.

For me, a cyberpunk in 2020 is someone who looks beyond the cutesy logos and user friendly interfaces of modern tech giants and tries to identify their real goals and actions. It’s someone who understands that we have a civic obligation to understand how the digital sphere is run and object to injustices therein. It’s someone who knows the value of their privacy and takes steps to protect it.

In 2077, people are given a false choice: you either sell your soul to one of the giant corporations, or choose a life of crime. Without the protection of powerful businesses or gangs, sooner or later you will perish in the merciless streets of Night City. Cyberpunks are people who reject this dichotomy and try to carve out their own path. Technology, which often is a tool of oppression, also offers a way out. Cyberpunks know how to harness it to break free of the constraints of an unjust society.

LR: There is already something a little bit cyberpunk about bringing a story to life in an immersive 3D environment, but Cyberpunk 2077 is also full scale envisioning of the classic fiction genre. What familiar elements of cyberpunk show up in the game? Does it bring anything new to the genre?

Jakub Szamałek: Fans of the genre will surely recognize many familiar themes and topics: what does it mean to be human in a world where our bodies and minds can be fully mechanized and digitized? What happens when the elites have access to life-changing inventions, but others don’t? How do we function in a world where the boundary between the real and virtual is blurred?

But we also hope that Cyberpunk 2077 brings something new to the table. Most importantly, we tried to update the genre for the modern audience. Cyberpunk always explored our fears about the future, but some of these fears changed from the 1980s and 1990s, when some of the genre-defining novels were first published. For example, we’re less worried about an atomic apocalypse (perhaps wrongly…) and gang violence, but more concerned about privacy issues and the unfettered rise of tech giants. Our game attempts to explore these fears, make them the cornerstone of the story we’re telling.


The above is an excerpt from our full interview with Jakub Szamałek in the Cyberpunk in 2020 issue of the London Reader. Read it here!

Subscribe to either the Print or PDF edition of the London Reader to receive four great issues per year

Cyberpunk in 2020

Science Fiction from Dystopian Moment to Sustainable Future

Check out Cyberpunk in 2020…

Subscribe to either the Print or PDF edition of the London Reader to receive four great issues per year

It’s 2020—now where’s my flying car?

Pat Cadigan, a founder of the cyberpunk literary movement who is interviewed in this volume, famously answered, “That’s not the future we promised you. We promised you a dark technological dystopia. How do you like it?” It’s 2020, and the dark technological dystopia has arrived. 

//

The fiction in this volume takes a look at the dystopian state of the world and dares to imagine an optimistic alternative, planting seeds of hope and drawing on solarpunk themes of a habitable future powered by renewable energy, networked-collaboration, and repaired technology. Like us, these stories stand at a crossroads between climate collapse and a radically reshaped sustainable future. The dystopia envisioned by 1980s cyberpunk authors has arrived. Will we continue down this path to self destruction, or do we dare envision a better future?

This volume features a collection of multi-award-winning cyberpunk authors who move the genre away from the 80s action movie aesthetic of bakelite guns and neon-lit street races and into our increasingly networked existence facing ecological collapse.

Stories from Nebula Award-winning authors Ken Liu, James Patrick Kelly, and Cat Rambo expose the pervasiveness of the internet as it intrudes into our most private and tragic moments. Arthur C Clarke Award-winners Gwyneth Jones and Lauren Beukes offer optimistic visions of the ways technology can connect us. This volume also features stories, minifiction, and poetry from Matt Bryden, Katie Harrison, Anthony Lapwood, Rebecca Lee, Rosaleen Lynch, Syd Shaw, and Paige Elizabeth Wajda who shine the light of their screens on this dark moment, looking for the loose strands that connect us together. Art by Pavlo Baiandin, Janusz Orzechowski, Sergey Osipov, and Harry Purnama display views of the dark street-scapes of the 21st century and glimpses of how our imagination and connections to each other can offer us a way out.

This volume also includes interviews with visionary author and Hugo, Arthur C Clarke, Locus, and Seiun Award-winner, Pat Cadigan and the novelist and principal writer for the upcoming and long-awaited game Cyberpunk 2077, Jakub Szamałek. They reflect on our dystopian moment and provide their views of where we go from here while Szamałek also answers what is cyberpunk in 2077.

The writing in this volume brings us up to date from the cyberpunk of the past. It attempts to debug the interconnected nature of the internet-driven world we now live in. It springs from our fears of a climate catastrophe while at the same time offers us an alternative vision. The future that the cyberpunk authors of the 80s warned us of is here. The dark technological dystopia is only getting worse. Social media is disrupting democracies, and the climate is collapsing. If we don’t act now, there will be no future. But it’s not too late; there is still hope. The choice is ours.

Check out Cyberpunk in 2020…

Part of the proceeds from this issue supports GiveDirectly. GiveDirectly is a charitable organization that sends donations immediately and directly to those most in need. Find out more at givedirectly.org

Open Call: Travel Writing in Europe

Into the Eurozone & Onboard the Eurorail: Travel Stories from Beyond the Borders of Brexit

Deadline November 2nd, 2020

Brexit is locking down the British border for Brits and Europeans alike. Quarantine makes us nostalgic for last year’s trip with friends. Airline emissions now justify sightseeing by rail instead of leaping from continent to continent. Europe is changing. Air is out; rail, electric vehicles, and car-sharing are in. Borders that were razor-wire fences just a few decades ago have become lines in a road—and vice versa. Has Europe’s Erasmus generation grown up to become citizens of everywhere, or of nowhere? Sometimes travelling from one country to another is about the journey, sometimes it’s about the destination, sometimes it’s about the people met along the way, sometimes it’s about the people by your side, and sometimes it’s about the people left behind.

The London Reader is issuing an open call for short stories, travel writing, poems, photography, art, and postcard stories about travelling by land in Europe and neighbouring regions. We’re looking for road stories, interrail stories, city stories, language stories, hitchhiking stories, and border stories. We’re looking for stories focusing on character; stories of (bad) luck on the road; stories of the strangers met along the way, stories of fellow travellers, and stories of family left behind; slice-of-life observations from abroad; poetry about people, places, the traveller, or the road; stories about sustainable travel; stories about low-budget travel; stories of history present; stories of new experiences; stories of culture clash; stories about what it means to be a European after Brexit; and stories about epiphanies that change the traveller. The travel writing submitted to this issue can be true stories, well-researched fiction, or stories loosely based on true events. Submissions should be connected to Europe and focus on the experiences of characters.

The travel writing in this issue will explore themes of…

  • Human relationships and experiences on the road
  • Changing border barriers separating friends and family
  • Passport privilege and difficulties for marginalized people
  • Sustainable, low-emission travel
  • Alternative, low-budget travel
  • European identity in 2020

What to submit: Creative works can be stand-alone pieces or collections, but should generally be fewer than 5,000 words or no more than 4 poems per collection. Multiple submissions, simultaneous submissions, and previously published submissions are welcome. Artwork should be favourably viewed on a tablet or single A5 page

How to submit: The London Reader submission portal for this issue at https://forms.gle/eFa1imHZs7JigPV39 which requires a Google account

If you have any questions or difficulty submitting, email coordinator@LondonReader.uk

The deadline for submitting on this theme is November 2nd, 2020.

Free Issue!

Our Time in Quarantine
Stories and Poetry from the Lockdown

In this difficult time, we set out to do what we have always done: bring writers and readers together to try to understand our changing world through stories. This collection of entertaining and enlightening stories and poetry brings together individuals in lockdown all over the world. This issue grapples with what it’s like to live in isolation, encounter magic in this moment, or lose a loved one. As difficult as these times are, these stories remind us that we’re not going through it alone

In the current circumstances, not everyone can afford a subscription to a creative writing magazine, but we’d like to share the issue with you nonetheless. That’s why we’re giving the pdf away for free. Just follow the link below:

www.LondonReader.uk/Quarantine

If you’re able to support the writers, poets, and artists who contribute to the London Reader, please consider becoming a subscriber, donating, or simply sharing this post. Every person who donates will receive a complimentary pdf or mobi of a back issue of their choice, and their contribution goes to the writers within the issue.

If you’re interested in powerful, moving stories told by authors with their finger on the beating pulse of this troubling moment, read on.

Cover of Our Time in Quarantine

Our Time in Quarantine

Stories and Poetry from the Lockdown

In quarantine, almost everything has changed—but it has changed for all of us, all at once. As difficult as isolation is, we all share this moment. We are connected the world-over like during no global calamity that has come before. And our stories can help us navigate this pandemic in this moment. They can help us understand it through other people’s eyes. And they can help us remember how it has affected everyone’s lives.

In these stories, a magical clock that last chimed during the Spanish flu is uncovered; neighbours learn everything about each other through their facing windows; one woman’s quarantine feels oddly like a house cat’s; and ghosts of the past come to dinner when no one else can. The stories in this issue were all composed this year. They sprang from the experiences and imaginations of almost twenty different authors grappling with the pandemic.

This issue presents enchanting and affirming short stories from Yvette Viets Flaten, Emma McKee, DC Van Schaick, Amy Lord, Anna McCarthy, Coles Lee, Miriam Huxley, Gabrielle Mullarkey, Douglas W Milliken, and Rekha Valliappan. It includes moving and inspiring poetry by Victoria Fifield, Nancy Cook, Gerard Sarnat, Katrina Dybzynska, Ronda Piszk Broatch, Jen Karetnick, and Anvesh Jain, as well as art from Ann Marie Sekeres, Brenda Mann Hammack, Laisve Rose, and Leo Wijnhoven. This issue also features interviews with the multi-award-winning author Namwali Serpell, whose first novel, the intergenerational epic, The Old Drift has been called “extraordinary, ambitious, evocative, dazzling” by Salman Rushdie; and with Phumlani Pikoli, the author and multidisciplinary artist who’s been cited as an “urgent new voice in South African fiction”.

The work of these authors and artists all bear witness to the greatest health crisis of our times. Through stories, we are deciding what is essential to our lives, we are figuring out what the phrase “the new normal” really means, and we are discovering, we’re all in this together.

Read the digital edition right now for FREE

Subscribe to either the Print or PDF edition of the London Reader to receive four great issues per year