Shoreline of Infinity is a brand new science fiction magazine out of Scotland. It is a distinct honour to be part of the first edition of this visionary publication. Readers, writers and artists are invited to take part in the shaping of our future mythology.
As they say on their “Why? page:
Why the Shoreline of Infinity?
Because that’s where we are. Humankind has trampled our way across the lands, and now we are mooching about on the sands, squinting out across the Ocean of Infinity before us. And we don’t know what to do.
Help is at hand.
Science Fiction has always asked the big questions, more so than in any other form of literature. Where have we come from? Where are we going? Where do we want to be? What’s going to happen? How will we cope? What’s the story?
And there’s no doubt scientists have been influenced by SF, as much as science is a source of inspiration for SF writers.
It’s also available as a PDF edition using the layout from the printed edition – this is ideal for reading on a tablet or big screen.
Shoreline of Infinity also available as a good old fashioned printed edition – available from Amazon. Also be sure to read all bout the launch event for Shoreline Of Infinity Issue One on their blog. Wish I coulda been there!
Coming up is Issue #7 of the fantastic Lackington’s Magazine, which includes a beautiful story written by Mat Joiner I had the privilege of illustrating. Head on over to Twitter to see the illustration and be sure to follow them and join in the fun. Lackington’s Magazine is unique, artistic, and they are a true joy to work with, as the magazine is a joy to read.
— Lackington’s Mag (@Lackingtons) July 3, 2015
As they put it:
Lackington’s is an online magazine that publishes speculative fiction and art four times a year. We want to help widen the space for prose poetry. We’re looking for stylized prose. Not inept purple prose, of course, but controlled and well-crafted wordsmithery that reflects the story, setting, theme, atmosphere, or philosophy it seeks to describe.
Stylized prose can be sparse and simple, diamond-cut like the writing of Ursula K. Le Guin. It can be sumptuous like the writing of Oscar Wilde. It can be epic, archaic, experimental, mythic, rhythmic, and it can be quiet and subtle, too. Story and character are indispensable, but so is wordcraft. We trade in aesthetics, so make us gasp with unexpected words and give us inventive voices, structures, and narratives. Many editors reject heavily stylized prose out of hand. We welcome it.