Ted Mahsun

Yesterday, the New Asia Now edition of the Griffith Review went on sale: Griffith Review 49: New Asia Now showcases outstanding young writers from the countries at the centre of Asia's ongoing transformation. They write about the people and places they know with passion, flair and insight. All born after 1970, our contributors are cultural agenda setters at home who explore issues of identity and belonging in the new world that is unfolding. Griffith Review 49: New Asia Now, co-edited by Julianne Schultz and Jane Camens, takes a journey through the region’s diversity, featuring a new generation of literary stars who will shape the way we understand the complexities of culture, politics and modernisation. The editors received so many good entries they wanted to include that they decided to publish this edition in two volumes -- a print edition and a supplementary e-book entitled, " New Asia Now: Volume 2 ". Now, why am I telling you this? Because not only is Ne

A solar flare causes an accident on a routine mission around the Earth's orbit. This causes astronaut Travis Hill to take extreme measures by leaping out of the craft and into an escape pod, effectively becoming the first astronaut ever to jettison to safety from space and make a reentry back to Earth. This amazing starting sequence in the novel, Starfire by Paul Preuss, hooked me straight in and kept me turning the pages, wanting to know what would happen the thrilling moment next. Unfortunately, as action-packed as the opening was, the rest of Starfire left me wanting. Several years after Travis Hill's amazing escape from the solar flare accident and his daring descent back to Earth, he has been deemed unfit to go back to space. But when he hears about an asteroid that makes a near pass to Earth and is heading towards the Sun, he spies an opportunity to get back to space. With NASA launching the brand new spaceship, the titular Starfire, very soon, plans are made to

The Book Smugglers feature Cyberpunk: Malaysia in their monthly SFF in Conversation article . They speak with Zen Cho, the editor, as well as the authors featured within the anthology. And yes, I'm one of 'em, thank you very much. An excerpt: We received 100 submissions – a lot for a local English-language anthology – and filtering them down to the final 14 short stories was not an easy process. But I’m proud of the resulting book: it’s a fascinating snapshot of contemporary urban Malaysia, an exploration of what cyberpunk might be in a Malaysian context, and a glimpse of what we can hope for from the continuing growth of world SF. There's also a giveaway, so if you hurry, you might be able to win a copy.

This article in Wired has made me rethink my fiction quite a bit lately: Half the time, people can’t even seem to figure out how to define rape, let alone portray it in responsible ways. Indeed, one of the most baffling things about so many rape scenes in popular culture is that the people who scripted them felt qualified to do so, despite seemingly knowing nothing about rape except that it exists and it is bad. In short, anyone can write a rape scene—but should they? Chances are, the answer is no. It's a well-written piece about the use of rape as a plot device and why it's most often unnecessary and makes for lazy writing. I agree with this and I, for one, don't enjoy rape scenes, no matter how crucial it is to the plot in a story. Yet, with that in mind, I must say the article comes at a crucial time for me as I was drafting out an outline for a future short story which happened to include a rape scene. The scene would have involved a woman raping an andro