Benjamin Crowell. A Hole in the Ether. (Asimovs September 2013)
Excellent, cautionary story from Crowell, which loks at the potential risks of technology, allied with decisions made on copyright and IPR, on our future.
Benjamin Crowell. Kill Switch. (Asimovs, July 2012)
A future in which genetic engineering in utero is the norm, hence the protagonists musical ability (dear me, if the future if jazz, stop the world this old punk wants to get off….)
Benjamin Crowell. The Pass. (Asimovs March 2012)
With most of humanity having opted for a digital upload to an alien-provided nirvana/rapture, only a few small communities remain.
Asimovs. June 2010.
A bit of a deja vu feeling with the opening and closing stories, with two experienced writers re-treading footprints into the sfnal regolith, with the other stories being good without being great.
Benjamin Crowell. Petopia. (Asimovs June 2010).
A cuddly toy with an AI chip finds itself a long way from home.
Asimovs. March 2010.
I started this issue expecting Rusch and Jablokov to supply the stronger stories, but in fact it is Zumsteg and Ludwigsten who tickled my fancy the most. Who’da thunk it?
Benjamin Crowell. Centaurs. (Asimovs March 2010).
It’s set in space, and there’s a bit of drama, and, erm, that’s really about it, in a fairly routine story.
Asimovs. December 2009.
This issue got caught up in the big revamp of Best SF, and wasn’t reviewed
Asimovs, September 2009
The Goldstein and Rusch stories start and finish the issue strongly, with the other stories being good without being great. Other stories by Crowell, Cooper, Steinmetz, Oltion, Resnick, Robyn, Tem.
Asimovs, March 2009
Nancy Kress. Act One. More of an Analog story than an Asimovs. Genetic modification is