
and exploration for the near future. Surely this must bode well for space adventures in fiction, and there is
much strength to build on in SF already.
The year 2003 was a very strong one for science fiction novels and stories, and there were many
shorter stories in consideration. So we repeat, for readers new to this series, our usual disclaimer: This
selection of science fiction stories represents the best that was published during the year 2003. It would
take several more volumes this size to have nearly all of the best short stories—though, even then, not all
the best novellas. And we believe that representing the best from year to year, while it is not physically
possible to encompass it all in one even very large book, also implies presenting some substantial variety
of excellences, and we left some worthy stories out in order to include others in this limited space.
Our general principle for selection: This book is full of science fiction—every story in the book is
clearly that and not something else. We have a high regard for horror, fantasy, speculative fiction, and
slipstream, and postmodern literature. We (Kathryn Cramer and David G. Hartwell) edit the Year’s Best
Fantasy in paperback from Eos as a companion volume to this one—look for it if you enjoy short fantasy
fiction, too. But here, we choose science fiction.
Science fiction in shorter forms was vigorous and perhaps even growing in 2003, though sometimes
not in easily accessible places. Certainly, the electronic fiction websites such as Infinite Matrix, Strange
Horizons, and SciFiction continued to publish much excellent work, though a majority of it was fantasy or
horror. And the professional and semi-professional magazines persisted, though most of them did not
thrive in sales or subscriptions, and were a center of interest for SF readers. But the small press really
expanded this past year, both in book form and in a proliferation of little magazines, in the U.S. and
throughout the world.
Books and magazines of high quality from Canada, Australia, and the UK, often anthologies and
short story collections, drew our attention. We have to say that this year was perhaps the best in a
decade for original anthologies and story collections—even though most of them will not be found in local
bookstores because they are available on the whole only by direct mail or internet order, or from
specialty dealers at SF conventions. Still, the total of good SF stories, and perhaps even the total of all
SF stories, increased noticeably last year.
But—and this is a significant but—the majority of small press publications contained only a minority
of science fiction genre stories, and the bulk of the rest were speculative literature, fantasy, horror,
magical realism, allegories, or uses of SF tropes and images in the context of mainstream or postmodern
fiction. This commonly derived from a “breaking the bounds of genre” attitude on the part of the editors
and publishers of small press short fiction, and many of their writers. Distinguished examples of this trend
are Trampoline, Polyphony, Descant, Open Space, and Album Zutique #1 .
And somewhat to our amusement, this attitude was contradicted by one of the bastions of
mainstream literary fiction, McSweeney’s magazine, which published a genre fiction issue, McSweeney’s
Thrilling Tales, in 2003, edited by Michael Chabon. It was filled mainly with genre stories (SF, horror,
fantasy, western, mystery and detective, men’s adventure) by literary writers, although certain ambitious
genre figures of some acknowledged literary accomplishment, including Harlan Ellison, Michael
Moorcock, and Karen Joy Fowler, were included. Each year we find ourselves pointing with some irony
at the areas of growth in SF as if they were double-edged swords. While many of the ambitious insiders
want to break out, at least some ambitious outsiders are breaking in, and some of them at the top of the
genre.
The SF magazines struggled to maintain circulation and not allow their subscriber base to erode,
while publishing on the whole good-to-excellent stories. Not enough people paid attention, in our
opinion. More of you should be reading at least one of the SF magazines regularly, if not two or three.
We have remarked in the past that the average paperback anthology of fantasy or SF does not contain
as many good stories as the average issue of Asimov’s or Fantasy & Science Fiction .
Two of the main resources for keeping track of short fiction disappeared for part or all of the year.
The ISFDB (the Internet SF Data Base), the largest database of SF story titles on the internet, lost its
home and was dormant, though it is back now. And Tangent Online, the most comprehensive review
medium for short fiction, fell silent in the second half of the year, although a new editor was announced at