ben peek

@nosubstance.bsky.social

Author of The Godless, 26Lies, Dead Americans and other novels. Short fiction in Lightspeed, Clarkesworld, Nightmare, Overland, etc. Lives in the edges of Sydney, Australia. http://linktr.ee/benpeek

The thing people seem to forget about criticism is that it is its own art. It doesn’t exist to validate (or invalidate) an artist. It has its own structures, body of work, and theories. It’s not about is it good or bad. That’s the kind of thinking that has led to ppl drinking raw milk.

It’s interesting (and sad) that the right’s campaign to kill The Odyssey has failed when they’ve made it work so well against female led superhero films. It says, perhaps, ugly things about the audience of the latter? Or that these campaigns have little impact and the films would fail regardless?

Saw Nolan’s The Odyssey yesterday, somewhat unexpectedly. Everyone has an opinion about it, and I have mine. Simply put I thought it was pretty much your standard Nolan fare. It’s fine without being anything truly interesting, or groundbreaking. Tom Holland is miscast, however.

I do all these writing workshops and I’ve done them for years now and it’s always the same, people who wanna write but don’t read, and look, save your time and your money and listen to me now, you wanna write you gotta read.

The Aurealis Awards have some problems, it’s true. There’s too many categories for a field as thin as Australia’s, and this impacts on quality judges and prestige in the award itself. But accessibility should never be a problem - especially given the very real class divides that exist in art.

ben peek@nosubstance.bsky.social · 4w ago

Those are some fancy new fees for the Aurealis Awards. Pretty wild tbh. Seems like a very real choice to make sure certain people can’t be involved. Seems shitty and elitist and laughable. Australia SF doesn’t need more barriers in it. Try and be better.

Those are some fancy new fees for the Aurealis Awards. Pretty wild tbh. Seems like a very real choice to make sure certain people can’t be involved. Seems shitty and elitist and laughable. Australia SF doesn’t need more barriers in it. Try and be better.

Friends, in a couple days I'll announce the table of contents for "The Best Weird Fiction of the Year, Vol. 2." Meanwhile, here are the very notable stories that garnered much consideration and will be listed in the book. As always, great stuff.

The Music We Became	by Addison Smith	from Final Curtain: Stories Inspired by the Phantom of the Opera

Orange Slab by Ashley Stokes - Interzone #301

Edgar Addison, the Author of Dévorer (1862-1933) by Ben Peek	- Nightmare #153

Personation	Ben Tufnell	The Brussels Review Autumn 2025

The Voice Thief	Chris Stavitsky	Oxford American #130

Another Mother Again	Cyan Katz	Weird Horror #11

The Start of Something	David Demchuk	Weird Horror #11

The Tawlish Island Songbook of the Dead	E.M. Linden	PodCastle #879

Whalesong	Guan Un	The Deadlands

Moving House	Joseph Anderson	Chthonic Matter #9

Belly Full of Eyes	K.S. Walker	Three-Lobed Burning Eye #46

The Further Tide	Lynda E. Rucker	Supernatural Tales #60

Apostasy in Fruit	Moustapha Mbacké Diop	The Dark #120

His Most Feared Constellation	R.L. Summerling	The Dark #119

The Sitter	Rob Francis	Fever Dreams

Trader	Sam Asher	Bourbon Penn #36

The Cold Burning Light of Her	Sam W. Pisciotta	Lightspeed #186

Shrike	Samir Sirk Morató	ergot.

Everything is White	Simon Strantzas	Other Sides

Not the Same Place	Simon Strantzas	Other Sides

Was in a bar tonight. At one stage, as I wandered the hallways looking for a bathroom, I came across a men’s bookclub reading William Gass’ The Tunnel. There must have been six of seven of them, each with that massive edition of the book, like a fever dream, or a scene from a David Lynch film.