In 2017 I published one essay, one poem, and I turned in one anthology. In contrast, 2018 turned out to be a huge year. I’ve listed below what my 2018 publishing year looked like.

In terms of eligibility, this is a bit of an odd year.

• I am eligible for the Hugo Award as Best Editor, Short Form. Unfortunately Navah is not yet eligible, but she can be nominated for Best Editor, Long Form.
• Navah and I are eligible as a team for the Locus Award, Best Editor.
• I’m unsure if Elsa and I are eligible as a team for anything considering Disabled People Destroy Science Fiction is a special double issue of Uncanny Magazine, but Uncanny Magazine itself is definitely eligible for Best Semiprozine.
• Technically my story “The River Street Witch” is eligible for the usual short story categories, but I would rather voters consider the fine stories my co-editors and I published in Robots vs Fairies and Disabled People Destroy Science Fiction.

Editing

Robots vs Fairies, co-edited with Navah Wolfe (Saga Press)

The year started off strong with Robots vs Fairies, my second anthology with my wonderful co-editor, Navah Wolfe. As with The Starlit Wood, this was a cross-genre anthology featuring authors from around the world. RvsF was published to some fabulous reviews and we’ve been really happy with its reception. Other fun things related to the anthology include:

• Made the Barnes & Noble Sci-Fi Blog’s Best Science Fiction & Fantasy Books of 2018.
• Made the School Library Journal Best Adult Books 4 Teens 2018 and received a SLJ starred review.
• A Russian translation(!) forthcoming from AST Publishers in 2019.
• Alyssa Wong’s story “All the Time We’ve Left to Spend” was reprinted in Fireside Magazine.
• Sarah Gailey’s “Bread and Milk and Salt” was reprinted on Tor.com.
• 3 stories are getting reprinted in Jonathan Strahan’s The Best Science Fiction and Fantasy of the Year: Vol 13: “The Bookcase Expedition” by Jeffrey Ford, “Quality Time” by Ken Liu, and “The Blue Fairy’s Manifesto” by Annalee Newitz. The other Year’s Best editors haven’t announced their ToCs yet, and we’re hoping to see a few more pieces get picked up as well.

Disabled People Destroy Science Fiction, co-edited with Elsa Sjunneson-Henry, with Nicolette Barischoff, S. Qiouyi Lu, and Judith Tarr (Uncanny Magazine)

Disabled People Destroy Science Fiction was my first collaboration with Elsa Sjunneson-Henry, my co-Editor-in-chief, and it was a fabulous experience. We’re extremely proud of the project, and of all the work our section editors selected. DPDSF is a massive issue, bringing together fiction, non-fiction, personal essays, poetry, and artwork by a wide variety of disabled artists. I think it’s a very important project, and it seems to have resonated really well with readers. Uncanny will be releasing Disabled People Destroy Fantasy in 2019, headed by Katharine Duckett & Nicolette Barischoff, with poetry editor Lisa Bradley, and I can’t wait to see what they come up with.

On the editorial side, Navah and I are also just about to turn in our next anthology to Saga Press. We haven’t announced it yet, but we’re really excited to share the project and the ToC in the new year.

Writing

2018 was a huge year for me in terms of writing. Working on Disabled People Destroy Science Fiction lit a fire under my ass, and I decided I wanted to engage more fully with my community not just editorially but also with my own writing. In 2018 I wrote more in a broader range of genres, submitted more, and I also had more work published than ever before. The support of the Ontario Arts Council was also instrumental in giving me the financial stability and freedom to really dedicate myself to my writing this year.

Poetry

• We, Old Young Ones, my poetry chapbook, was accepted by Caryl Wyse-Peters and Shane Neilson at Frog Hollow Press and will be published in January 2019. I love the press and the work they do, and it means so much to me to have my chapbook published by Shane and Caryl. I’ll have more on this next month.
• In total I had 16 poems accepted in 2018. 10 have been published, and 6 are forthcoming in 2019 in various magazines and journals. 4 new poems will also appear in We, Old Young Ones. The published poems are:
  • The Eganville Healer’s Compound, Train: a poetry journal, 2018
  • Side effects may include strangers, Train: a poetry journal, 2018
  • After deciding not to die by suicide, you should be thinking, Guest 1, 2018
  • Card game with disabled friends, Big Smoke Poetry, 2018
  • MRI, or The New Art of Anthropomancy, Atticus Review, 2018
  • you are (b)rain weather, The Quilliad, 2018
  • Old Young Man, Wordgathering, 2018
  • Degeneration, Wordgathering, 2018
  • niece with a peach following four minutes of Planet Earth, Yes Poetry, 2018
  • Oliver, Plenitude, 2018
• So far in 2019 I’ll have poems in Arc Poetry Magazine, Poetry Pause (The League of Canadian Poets), The Anti-Languorous Project and The Antigonish Review.

Non-fiction

• “When you could not hear, I spoke”, creative non-fiction published in The Fiddlehead‘s first CNF issue, edited by Alicia Elliott. This piece about my elderly friend Denise’s funeral, where I was the only person in attendance, is hugely meaningful to me, and I’m so happy it found a place in this issue filled with brilliant work.
• “Cracks in the viewscreen: Sci-fi needs to overcome its poor history with disabled people“, essay in Quill & Quire. Really proud of this essay on editing Disabled People Destroy Science Fiction and the future of science fiction and disability.

 Fiction(ish)

• The River Street Witch, Alice Unbound. The River Street Witch is my Alice in Wonderland Syndrome (Todd’s Syndrome) story. Sort of the fiction counterpart to my Growing up in Wonderland essay.
• Concussion, Augur Magazine. Concussion is an odd flash fiction, prose-poemy piece about a concussion. So glad to have it with the lovely folks at Augur.