From the Editor
Welcome to Analog Science Fiction and Fact!
A lifelong appreciation of science fiction has led me to an incredibly fulfilling career with Analog, and I’m proud to carry on the magazine’s long-standing tradition of publishing the world’s finest science fiction and fact.
During my tenure at Analog, I’ve had the profound privilege of working with hundreds of authors, editors, TV producers, and many other notables in the science fiction field. As the editor of the longest-running SF publication in history, my personal mandate is to continue to provide the top-quality, ground-breaking hard science fiction that has characterized Analog since its launch. Welcome!
– Trevor Quachri
About the Editor
Trevor Quachri has been the Editor of the Hugo Award winning magazine, Analog Science Fiction and Fact, since 2012.
Prior to taking over the reins at Analog, Trevor’s editorial skills were honed working with Stanley Schmidt (Analog Editor 1978-2012), Sheila Williams (Asimov’s Science Fiction Editor 2004-present), and Gardner Dozois (Asimov’s Editor 1986-2004). He brings to Analog a unique and reverent perspective on SF. In addition to his lifelong love of science fiction, Trevor draws upon his diverse past experiences – on Broadway, on special museum projects involving rigorous scientific data analysis, on collaboratively producing a pilot for a SF-based television show – to continue Analog’s storied tradition of ground-breaking hard science fiction.
Editorial: The Editor’s Page
by Trevor Quachri, Emily Hockaday & Kevin Wheeler
I recently finished The Bright Sword, by Lev Grossman (Viking Press, 2024, 688 pp): I had been meaning to get to it for some time, but I wasn’t actively intent on doing so until its nomination for a World Fantasy Award in 2025. Overall, it’s excellent: satisfyingly long, but dramatically paced (and mercifully: a single volume, with no obvious dangling threads to allow for sequels), imaginative, with well-drawn versions of some of the more minor characters of Arthurian myth. It’s not perfect: the Big Bad reveal doesn’t land perfectly; anyone even casually familiar with Tolkein will see a certain moment coming a mile away; and it can feel too modern at times for my taste—but then, that’s no unforgivable sin: that was Steinbeck’s express purpose when he began writing one of my favorite books of all time, his unfinished The Acts of King Arthur and his Noble Knights; to take Mallory’s Le Morte d’Arthur and update it for modern readers. So in spite of not directly nodding to Steinbeck, his influence is felt here, and Grossman’s growth as writer since his breakout The Magicians is apparent. Recommended. READ MORE