Mormon Science FictionWashed by a Wave of Wind
Science Fiction from the Corridor
M. Shayne Bell, editor

on the cover: 

title page:
Washed by a Wave of Wind:  Science Fiction from the Corridor
Edited by M. Shayne Bell
Signature Books
Salt Lake City

copyright page:
dedication:  For Marion K. Smith, Professor of English, Brigham Young University.
He continues to influence so many of us.

“Dealer,” by Michaelene Pendleton, was first published in Amazing Stories 65 (Sept. 1991): 31-37.
“Pageant Wagon,” by Orson Scott Card, was first published in The Folk of the Fringe (West Bloomfield, MI: Phantasia Press, 1989), 110-90.
“The Shining Dream Road Out,” by M. Shayne Bell, was first published in Tomorrow: Speculative Fiction 1 (July 1993): 3845.

Cover design by Clarkson Creative

Washed by a Wave of Wind was printed on acid-free paper meeting the permanence of paper requirements of the American National Standard for Information Sciences. This book was composed, printed, and bound in the United States.
© 1993 by Signature Books, Inc. All rights reserved.
Signature Books is a registered trademark of Signature Books, Inc.

Library of Congress Cataloging-in-Publication Data

Washed by a wave wind: science fiction from the corridor / edited by M. Shayne Bell.
p. cm.
ISBN 1-56085-038-8
1. Science fiction. American—Utah. 2. Science fiction, Amercian—Idaho.
I. Bell, M. Shayne, 1957-
PS648.S3W38    1993
93-13567 CIP

Editor’s Introduction:  Toward a Science Fiction from the West [see below]
Barbara R. Hume:  Prologue: Strange Bedfellows—A History of Science Fiction in the Corridor [see below]

01 – Dave Wolverton:  Wheatfields Beyond
02 – Carolyn Nicita:  Solitude
03 –  B. J. Fogg:  Outside the Tabernacle
04 –  James Cummings:  Space People
05 – M. Shayne Bell:  The Shining Dream Road Out
06 – Diana Lofgran Hoffman:  Other Time
07 – O. William Shunn:  Rise Up, Ye Women That Are at Ease
08 – M. W. Worthen:  You Can’t Go Back
09 – Diann Thornley:  Thunderbird’s Egg
10 – Melva Gifford:  Scrap Pile
11 – Kathleen Dalton-Woodbury:  Signs and Wonders
12 – Virginia Ellen Baker:  Songs of Solomon
13 – Charlene C. Harmon:  Pueblo de Sión
14 – Elizabeth H. Boyer:  A Foreigner Comes to Reddyville
15 – David Doering:  Snooze
16 – Glenn L. Anderson:  Shannon’s Flight
17 – Lyn Worthen:  Rumors of My Death
18 – Pat Bezzant:  Finale
19 – Michaelene Pendleton:  Dealer
20 – Orson Scott Card:  Pageant Wagon

About the Contributors [see below]

Editor’s Introduction
Toward a Science Fiction from the West

[p.vii]The history and geography of the Corridor—the area of original Mormon settlement in the West stretching in a narrow band from Alberta to Sonora (but limited in this book to Utah and southeastern Idaho)—would have inevitably produced writers of science fiction. Any man or woman with imagination, growing up or moving here, would thrive on the possibilities of the story of this place: the Corridor was settled by people who traveled across vast stretches of dangerous, largely unexplored land to seek religious freedom—and in the process transplanted a civilization. What they accomplished more than 150 years ago parallels what women and men will do as we move off Earth into space; the skills they developed are the skills we need to face the future, whether on this planet or off it.

The settlers of the Corridor had to bring with them everything necessary for their survival, but very quickly they were forced to learn to live off their new land, to make do with what they had, and to adapt. They had to learn the languages and customs of the indigenous populations, to discover ways of trading with them, of living with them, of settling their differences, sometimes violently. They adopted the values of the frontier, necessary for the survival of any large group of people transplanted from the centers of European civilization: hard work, courage, the ability to adapt with good humor, confidence in one’s [p.viii]ability and imagination, an appreciation for the unique worth of individuals, hospitality and kindness to strangers, personal freedom and human dignity, concern for the future, fascination with technological innovation that make up for the lack of adequate human resources, and appreciation of beauty in making a new home and finding peace in it. This history and these values, still transmitted to writers generations later, influence the fiction written here, certainly the science fiction.

The land, furthermore, holds its own power over the imagination of science fiction writers in the Corridor. No one can escape the land’s austere and serene presence, even in the cities: look up and you will see mountains. In Utah the mountains circle you. On the plains of Idaho, they are farther away, but the skyscapes still make you look up at the endless banks of clouds by day and stars from one point of the horizon to the other by night. A thousand abandoned cities of the Anasazi civilization lie in the deserts of southern Utah, and the modern cities in the north are built in an ancient lake bed-you can see the beaches on the slopes of the mountains above you. In places, where the wind has not blown it away, these beaches are still sandy. Wind and water have weathered the land into almost alien landscapes of canyons and mesas and arches and 300 mile-long cliffs, exposing everywhere, in sedimentary layers, clear evidence of the passage of time.

The simplest experiences with the land can be deeply moving. I remember when we were in college, my writer friends and I would walk each November up Rock Canyon northeast of Brigham Young University in Provo, Utah. The land was hard and still then, ready for winter. A mile up the canyon, we’d go down into the dry creek bed, below rocks that during the spring thaw formed waterfalls, and gather leaves and driftwood from the banks and build a fire. We’d sit close to it for warmth and look at the ancient, layered rock. Eventually, as darkness fell, we could see nothing beyond the firelight. It was as if time itself and condensed around us and concentrated on us and our point in it. We’ve since climbed mountains together and heard the quiet of the land and once saw the rain make a hundred waterfalls over the canyon walls above us. Ultimately, none of this diminishes you. It gives you a perspective on the shortness of life and the relative unimportance of daily problems and the joy we should have in our time.

And these Western values and impressions inform the stories in this book.

The stories show that the authors in this collection share some [p.ix]beliefs about what constitutes a good life and how to live it. They are about acts of kindness, about courage and adapting to difficult circumstances, about valuing individuals and working together to survive, about freedom and the lack of it, about living life with imagination andgood humor, about faith, love, the need for beauty, and about the land.

What makes these stories science fiction is that with these underlying Western frontier values, the characters in the stories face future ecological disasters, adapt to technological advances, fight possible threats to individual and artistic freedom, and bring in the twenty-first century with hope, which is a hallmark of science fiction.

But these stories are about one more thing. They are about the people we live with, the land where we live, and our hopes and love and respect for it all. Ultimately, these stories are about home.

This book is the first to draw together stories by professional science fiction writers from the Corridor, and it makes the most complete—and representative—collection of the work being done here. Nearly every member of the Science Fiction and Fantasy Writers of America who is from Utah or has lived here is represented in this anthology—together with several newcomers who make their first professional mark in this collection. I’d like to thank them all for their enthusiasm and support for this project.

I am pleased with the demographics of this book. Historically, science fiction has been written and read largely by men, but in the last two decades that has begun to change dramatically as more and more women write and read science fiction-bringing with them their unique contributions and view of the world and its future. Over half of the writers in this anthology are women. But of course we should expect that in this book: women of the frontier had to be strong, had to work side by side with men, and were expected to take part in every meaningful way in society.

I want to thank Julie Helm for the telephone call in July 1992 that got me to try one more time to sell an anthology: too often we limit ourselves by thinking we already know the answers. She  helped me see past what I thought I knew.

I realized a week before my deadline that I would have room to print a history of science fiction in the Corridor. I called Barbara R. Hume, a friend and a fine scholarly writer, and asked her to write the history which she agreed to do and which she finished on time. It took an [p.x]enormous effort to conduct the interviews necessary to write the history in just one week. Thank you.

Pat Bezzant helped me pull together the bibliography of publications for most of the writers living in Utah County and parts south. David Doering helped me with Orson Scott Card’s bibliography.

Dr. Richard Cummings and Donna Boam are father and mother of James Cummings, and I’d like to thank them for letting me print James’s story, “Space People,” and Dr. Cummings for finding it on the disks James left behind. I knew the story existed, because a few months before James died in February 1992 of complications related to AIDS, he invited me to his apartment and read me this story. James was afraid to read it to me, but there was no need for him to be nervous. I thought it a fine story then, and still do. James was in a creative writing master’s program at the University of Utah—a program renowned for being unsympathetic to science fiction—but even so James wrote this story: because he was stubborn, because he had read and loved science fiction all his life and recognized in it the same qualities that make any work of literature worthwhile, and because he was a man who would fight wrong ideas and prejudice. When he finished reading me the story, I told him how finely crafted I thought it was, and how moving. We talked for some time about the writing careers we’d dreamed about, and he started to cry. At the time we both knew he was dying, and he told me that more than any other thing he had wanted to have a writing career and now he never would.

I knew James for only one year, but he influenced me in big and little ways. I think, at times, we don’t realize all the ways our friends change our lives for good, all the ways they enrich us. James, I’m sure, didn’t realize everything he did for me. Among other things, he encouraged me to investigate the quiet and tender philosophies of the East, which he had been doing for years, and which had given him hope that there is something, after all, beyond this life. He introduced me to the Crimson Collection, a series of Sikh prayers for healing and peace that had been set to music and which are so beautiful. He even convinced me to change the dish soap I use—to a better brand that might cost more, but lasts longer and costs less in the long run. Good things come with a price. James made me learn that lesson again: so I remember him every time I wash the dishes. I miss him. When you read his story, I think you will agree that, in James, we lost a fine writer who would have blessed all our lives with many good stories had he lived.

[p.xi]The title for this book, “Washed by a Wave of Wind,” is taken from a line in Virginia Baker’s poem, “Sinai” (originally printed in Sunstone magazine, June 1990, page 58). I thank her for letting me use it.

I would like to thank the staff at Signature Books for their support and patience.

Barbara Bova, my agent, provided, as always, important suggestions and support throughout this project. Her energy and enthusiasm are infectious. I am fortunate to be able to work with her.

The stories in this book will move you, and entertain you, and make you think. I hope you enjoy them as much as I have.

Salt Lake City
November 1993

Strange Bedfellows—A History of Science Fiction in the Corridor
Barbara R. Hume

[p.xii]Science fiction in Utah? Can something so unconventional flourish in such a seemingly conservative state?

According to Elizabeth Pope, a long-time science fiction devotee who for many years served as science fiction librarian at Brigham Young University, the genre has not always been popular here. “Back in the 1950s, I think there were about two of us who really cared about it,” she says. Nor has the growth of interest pleased everyone, including those mainstream writers and academics who scorn science fiction as a sub-genre inferior to “real literature.”

But for many Utahns, science fiction enriches our lives in a variety of ways. It expands our intellectual and emotional capacities. It enables us to form satisfying friendships with fascinating, worthwhile people who share our interests. And it gives rise to much of the joy that we as humans are entitled to experience during our sojourn on this planet.


Science fiction fans have a proclivity for finding each other. In Salt [p.xiii]Lake City, for example, the past few decades have seen various manifestations of this tendency. Unfortunately, many of the dates and specifics have slipped from our memories, but the kinds of activities engendered among the city’s science fiction aficionados show that they genuinely have cared about the genre.

For example, a science fiction writing organization that includes Julie and Brook West, Deann Larson, John Forbes, and others, meets on Tuesdays for one group and Saturdays for another to exchange manuscripts and offer critiques. An early science fiction reading group, based at the Hansen Planetarium, involved such people as Reuben Fox and Michael Goodwin. A writer named Jerry Loomis gathered a group of like-minded people, apparently by the clever device of culling names from library check-out slips. Another group used to meet at the Salt Lake City library. Linda Taylor heads up a group called SWEET (Screen Writers Editing and Encouragement Team). Kathleen Dalton-Woodbury directs the computer-network Science Fiction and Fantasy Workshop which connects writers from all over the United States. David Zindell published his first novel while living here. One highlight for Salt Lake City science fiction fans was the 1974 visit of Robert Heinlein. His visit motivated many people to become involved in science fiction.

There has always been an active Star Trek fandom here as well, including people willing to go to the incredible headache of putting on a convention. InterCon, the first science fiction convention held in Salt Lake City, took place in the mid-1970s. The director pulled out from the project and left things in a shambles, but the efforts of Bjo Trimble helped save the convention from total disaster.

A series of conventions known as SaltCon took place for several years; there was also another series of cons called InterVention and a follow-up con called OuterVention. Currently, an annual science fiction convention known as CONduit has taken place in Salt Lake City each spring since 1989. A fanzine called Clavius, edited by Brook West, appeared in the area for some time.

The science fiction movement at BYU goes back to local science fiction clubs in the late 1960s and Star Trek clubs in the early 1970s. These clubs eventually evolved into two: Quark, which emphasized a literary focus, and The Association of Fantasy and Science Fiction, which focused on media science fiction (movies and television). About seven years ago these two combined into Quark: The BYU Fantasy and Science Fiction Club.

[p.xiv]When enrollment in the English department curriculum declined in the early 1970s, BYU became more receptive to the concept of offering science fiction. At first it was permitted only within an umbrella-course environment. A student named Jim Tucker started a group that met at the Provo City Library. The group eventually was granted a faculty sponsor and became an official class. BYU faculty members such as Marge Wight, Sue Ream, Marion Smith, and Elizabeth Pope have since served as sponsors for such courses.

When enrollment skyrocketed, other science fiction courses became available. Some of these examined science fiction as literature. But in 1980 BYU offered a creative writing course with a science fiction slant. That course—a seminal event in the history of Utah science fiction—-became known as “the class that wouldn’t die.”

The Class That Wouldn’t Die

In 1980 the BYU course catalog for fall semester listed a course in science fiction writing, with Orson Scott Card as the teacher. Although this was early in Scott’s career—he had just won the John W. Campbell Award for best new writer in 1978—his name was enough to create excitement among the fledgling science fiction writing community in Provo. Eagerly, we signed up.

As it turned out, Card didn’t conduct the course. He went instead to Notre Dame to work on a degree of his own. The instructor who took the class was Marion K. Smith—a regular BYU faculty member.

At first we looked at each other in disappointment. Then we decided, with great tolerance, to give the guy a chance. After all, it was science fiction, wasn’t it? Surely the class would prove reasonably interesting.

That class was a turning point in the lives of many people. Marion Smith became a favorite among the Utah contingent of science fiction writers. For one thing, he’d read just about everything in the field and actually remembered where all those great stories had first appeared.  For another, he helped us sharpen our critical and writing skills within the genre.

And of course he was (and still is) a genuinely nice man. We took to calling him “Doc” Smith, and we loved every minute of the class. Even the final exam was fun, with questions like, “Suppose you’re Harlan Ellison. A neophyte writer sends you a manuscript and asks you to critique it. Answer the letter-in Ellison’s style.”

Some of the people who attended that class turned out to be the [p.xv]movers and.shakers of Utah science fiction. For example, these individuals went on to begin The Leading Edge, a local publication that has given many science fiction writers the opportunity to publish. Class members also went on to help found an annual BYU science fiction symposium.

Shayne Bell was in that class; so were Mike Reed and Rayda Reed, a husband-and-wife team who worked hard on early issues of The Leading Edge. As was Dave Doering, whose let’s-not-just-talk-about-it-let’s-do-it approach spurred the creation of The Leading Edge and the symposium. So was Melva Gifford, who has edited four genre fanzines and written for more than 150 of them. And I credit my experiences there with giving me the courage to leave the ivory tower of academia and make my living as a professional writer.

Every now and then Doc Smith still attends one of our functions. Once during a Xenobia party marking our 400th meeting, a man from outer space appeared at the front door, complete with space suit and helmet. We were totally astounded—until we realized it was Doc Smith in his fire fighting gear.

“You gave me the wrong apartment number,” he told our hostess, grinning. “You owe your next-door neighbors an apology.”

The final assignment Doc Smith gave the class was to write a story for publication and turn it in, SASE and all, so he could mail them all after reading them. It was his way to get us to stop talking about being writers and actually do something about it. That assignment led indirectly to the founding of Xenobia, the premier (in my opinion) Utah science fiction writers group and one of the longest-lived such groups in the country.

Marching to Xenobia

Here’s how it happened: Several weeks after Doc Smith’s science fiction writing course was over, Shayne Bell called me to see whether I’d yet gotten my rejection letter from the assignment. In the course of our conversation, he mentioned that the class had been so much fun he hated to see it end.

“We should try to get the group together sometime,” he said.

“‘Sometime’ never happens,” I told him. “Let’s set a date.”

So we did.

Shayne, an imaginative young writer named Cassandra Johns, andI got together. Dave Doering joined us before the evening was over. [p.xvi]Dave Bastian, at that time a teenager but already so talented he made the rest of us grind our teeth, joined us at a second meeting.

As time went on, others with the same desire to write and publish science fiction joined the group, which we eventually named “Xenobia,” imagining that the word meant, loosely, “love of aliens.” Two strong additions were Glenn Anderson, with two Mormon science fiction novels already to his credit, and Diann Thornley, a novelist who researches her work so thoroughly that she spends years on projects. And Shayne gained two colleagues in the small field of science fiction poetry when Cara Bullinger and Virginia Ellen Baker came into the fold.

Like other writing groups, Xenobians tend to make references to each other in their work. The planet Baker in Dave Wolverton’s On My Way to Paradise, for example, is named after Virginia Baker. And the infamous Doering clamps get their name from the so-named Xenobian.  Not every member of Xenobia has become a nationally known science fiction writer. Many earn their livings as top writers and editors in the computer industry. But everyone in the group has proven him- or herself capable of writing excellent science fiction, and everyone works hard at getting better and better.

Thirteen years later we’re still meeting every week to critique manuscripts, exchange market information, and enjoy the company of kindred spirits. We’re no longer neophytes. Several members are published novelists, and most have published short stories or science fiction poetry in genre magazines. From this group such fine writers as M. Shayne Bell, Dave Wolverton, Virginia Ellen Baker, and D. William Shunn have emerged to brighten the national scene. Such talent would have emerged with or without Xenobia, but the group has provided an ongoing source of support and camaraderie for everyone involved.

“Xenobia gives its members just the sort of encouragement that writers need,” says Thorn Duncan, Xenobia member and author of the Mormon science fiction adventure novel Moroni Smith and the Land of Zarahemla. “It’s easy to lose your focus if you’re trying to work in a vacuum.”

The Leading Edge of Science Fiction

One of the best memories we have of the early 1980s is the creation of The Leading Edge. We were miffed that we were finding it difficult, if not impossible, to get our stories accepted in BYU’s official literary [p.xvii]magazine. “Wouldn’t it be great if there was a magazine we could be published in?” we moaned.

“Let’s start our own magazine!” was Doering’s response.

So we did.

Just about everyone in Xenobia at the time wrote a story for it, and we even got a few other people to contribute. We typed up the text, made sixty copies, came up with the name The Leading Edge and a cover, and stapled the magazines together by hand. After fifty copies the copy center ran out of green card stock, so we had the last ten covers printed on red card stock.

The BYU Bookstore agreed to sell our publication, so we set up a display on the main floor and then stood around watching to see if anyone would actually buy a copy. “Look!” we’d whisper to each other from behind a pillar or display case. “She actually picked one up! See? She’s actually looking at it!” Occasionally, someone even carried one to the cashier and paid for it. The issue actually sold out. Copies became collectors’ items-especially the rare red-cover issues.

Encouraged by our success, we made plans for a second issue. It still wasn’t particularly aesthetic, but it contained more and better stories and poetry.

The third issue was a turning point in the quality of the publication; we had a printed cover and perfect binding. In the fourth issue we stopped duplicating typewritten pages and started typesetting the text on a wheezy old CompuGraphic machine we called Darth Vader. We had to do this work at night; the university gave the convenient hours to its “official” literary magazines (which we consistently outsold, by the way).

By issue 10, Karl Batdorff and Shayne Bell moved production to a Macintosh, greatly improving quality. By issue 16, the magazine went permanently to full-color covers.

As time went on, the magazine passed into other hands. I stopped writing for The Leading Edge after the sixth issue (right before they started paying the writers). But I had a novel serialized in The Leading Edge which brought me my fan letters and requests for autographs. Although the novel itself is perhaps best forgotten, I treasure the experience.

 The Leading Edge is currently in its eleventh year of publication and up to Issue 26. Issue 24, at the tenth anniversary, was a “best of” issue, reprinting stories by Shayne Bell and Dave Wolverton. The [p.xviii]magazine is beautifully produced and continues to provide publishing opportunities for science fiction writers. And it isn’t only for neophytes; TLE has carried stories, essays, and interviews by some major writers in the field—Orson Scott Card, Fritz Lieber, and Jane Yolen, among others.

BYU not only provides funding but also grants co-op education credit for work on the magazine. (One success story is that of Ed Liebing,a Xenobian whose tour of duty as managing editor of The Leading Edge helped prepare him for a position as editor-in-chief of a leading computer industry trade publication.) Unlike most magazines that publish fiction, TLE still offers comments to the writers who submit manuscripts. The whole thing is, in my opinion, a great success story.

Bringing It All Home:  The Symposium 

Everyone knows that science fiction enthusiasts are so fervent that they hold conventions to share the experience with others and to meet and learn from professionals in the field. Most of these conventions, of course, take place outside of Utah.

“Wouldn’t it be great if we had something like that here in Provo?” we sighed.

“Let’s do itl” said Doering.

So we did.

From the beginning, the symposium attracted the local science fiction community, eventually drawing people from other parts of the country. In some years the publicity was poor and attendance down, but the offerings have almost always been solid. And many excellent writers have attended: C. J. Cherryh, Ed Bryant, Frederik Pohl, Poul Anderson, Jack Williamson, Algis Budrys, Tim Powers, Orson Scott Card, Octavia Butler, and David Brin, to name a few.

The annual BYU Science Fiction Symposium is now in its eleventh year, offering a three-day track of panels, professional sessions, writing seminars, screenings, exhibits, readings, book signings, dealer tables, and the other trappings of science fiction gatherings. When Scott Card comes, attendance skyrockets. His sessions on generating story ideas are motivational, and his professional sessions are delightful.

A highlight of the symposium is the private reception for guests. Some of the guests are always taken to Elizabeth Pope’s home, a showcase for science fiction fans. Practically every wall of every room and hallway is lined with bookshelves filled with science fiction books. [p.xix]Many of these books have been autographed by the authors, often during symposium receptions.

BYU no longer offers the range of science fiction classes it once did. But the university continues to support The Leading Edge and the February symposium with funding and facilities, and the creative writing option is still in place. Quark, the campus science fiction and fantasy club, provides support for symposium activities.


Three editions of this anthology of Mormon science fiction have appeared, each containing science fiction stories set in a Mormon milieu. Some stories were dreadful, but others melded the two arenas in memorable ways. The editor, Ben Urrutia, performed a service in calling the attention of Utah writers to the possibilities of combining the science fiction genre with the distinct characteristics of the Mormon subculture.

Writers of the Future 

Any discussion of the history of Utah-based science fiction must include mention of the Writers of the Future contest. This international quarterly science fiction writing contest, sponsored by Bridge Publications, has brought many new writers to prominence in the field. The list of winners includes some of the writers in this anthology. M. Shayne Bell, Virginia Ellen Baker, and Dave Wolverton have all been first-place winners.

Two Provo-based artists, Derek Hegstead and Darren Albertson, have won quarterly science fiction art contests also sponsored by Bridge Publications. The rumor is that the Utah contingent has swept so many science fiction contests that it has become known as the “Mormon Mafia.”

Science Fiction Writers from the Western Corridor 

The writers included in this anthology offer an interesting variety of insights about science fiction itself and about the unique twist that the culture of this area brings to it. Glenn Anderson wrote “Shannon’s Flight” to make sure he could get a legitimate tax deduction for a trip to Moab in southern Utah. He leans toward writing horror because “I have a lot of fears,” and enjoys stories about “why people do things.”

Virginia Ellen Baker became interested in writing science fiction [p.xx]from reading Star Trek tie-in novels and from reading Melva Gifford’s stories. Algis Budrys was a major influence because, she says, he wrote some of the first “people science fiction.” Baker won the Writers of the Future contest with the first short story she ever wrote. She, too, prefers writing horror; for this anthology, she wrote a “horror science fiction” story imbued with the cultural overtones of Utah.

M. Shayne Bell began writing science fiction to prove it could be written as well as any other kind of literature. In 1991 he was awarded a Creative Writing Fellowship from the National Endowment for the Arts—one of the first ever awarded for science fiction. His story in this anthology, “The Shining Dream Road Out,” was printed in Simulations: Fifteen Tales of Virtual Reality and in Tomorrow: Speculative Fiction.

Pat Bezzant says that “Utah’s atmosphere is conducive to science fiction because we live in a time warp thirty years behind the rest of the world.” Salt Lake City makes a good locale for “Finale” because of its earthquake faults and “the doomsday stuff in the culture.”

Elizabeth H. Boyer, whose story “A Foreigner Comes to Reddyville” is set in Idaho, is a nationally known fantasy writer. She drew a blank at first at the thought of writing science fiction for this anthology. But then she thought about the fact that science fiction writers like to write about the future and fantasy writers about the past. She became intrigued with the concept of science fiction applied to the past and produced the story included here.

Orson Scott Card, one of the most prolific and popular science fiction authors writing today, has a name readily recognized by any serious science fiction reader. But his work has particular appeal for Latter·day Saint fans. His story “Pageant Wagon” is one of a series of stories concerning Mormons in a post·holocaust world.

James Cummings died in April 1992. His story, “Space People,” brings science fiction to the real world of the corridor.

David Doering believes life is for doing, not viewing. His appreciation for science fiction began when, as a child, a librarian forbade him to read 20,000 Leagues Under the Sea, and nature took its course. “Snooze” illustrates his keen interest in decision-making moments.

B. J. Fogg grew up thinking his Trekkie friends were “crazy.” As a reader he is “compelled by issues of relationships” and feels that much science fiction is “gee·whiz driven.” Primarily an essayist, Fogg often deals with issues of the Mormon culture, which he considers to be “in [p.xxi]a watershed period.” Therefore, in “Outside the Tabernacle” he uses a near-future science fiction context to explore his themes.

Melva Gifford remembers “getting my hands green putting together the first issue of The Leading Edge.” She was interested in the magazine as a place to publish science fiction “that didn’t rely on the crutches of sex, profanity, and excessive violence.” In love with the “rugged, harsh beauty” of southern Utah, she made that landscape an important part of her story “Scrap Pile.”

Charlene C. Harmon’s idea for “Pueblo de Sión” came from the title of this anthology. She finished her story in record time “since Shayne forgot to ask me to submit until deadline day.” Here she combines her interest in pre-Columbian America with her love of Utah canyonlands.

Diana Lofgran Hoffman prefers hard science fiction. “I don’t have much patience with fantasy,” she says. In her story “Other Time,” she uses Utah culture as a basis for the story and for the character because “the Utah value system creates a lot of pressure. It forces a woman to try to be a superwoman.” Hoffman, an Isaac Asimov fan, favors science fiction “not laced with hot bedroom stuff’ and considers it a perfect vehicle for allegory.

Carolyn Nicita’s father, an aeronautical engineer, made a math machine (binary counting machine/binary computer) for her in the 1960s; her mother was into metaphysics, so “I did not grow up doing conventional thinking.” Because of her father’s interest in “Star Trek,” “I grew up thinking science fiction was real.” She discovered Xenobia when she went to BYU. “It isn’t difficult to find science fiction material in Utah,” says Nicita, who based her story “Solitude” around the theme of the need for aloneness versus the need for companionship.

Michaelene Pendleton feels that science fiction offers a writer the most value in terms of imagination. Pendleton, who has traveled widely, learned from life that “no one way is right.” She finds Utah’s conservative culture “societally restrictive” compared to other parts of the country, but is happy with the writers and writing coming out of Utah.  “Utah provides a wonderful emphasis on art,” she says.

D. William Shunn, a software engineer, believes his drive to write began in first grade when he won first prize in a class Halloween story contest-and scared the wits out of his classmates in the process. “Rise Up, Ye Women That Are at Ease” combines his love of Salt Lake City’s downtown locale with some serious thoughts on relations between the sexes.

[p.xxii]Diann Thornley originally wrote medieval fiction but was converted to science fiction after a friend forced her to see Star Wars, which she loved. The Star Wars universe has strongly affected her writing. Her story “Thunderbird’s Egg” contains several autobiographical elements:  her family used to vacation in Moab, she had two native American foster brothers, and she is, in fact, an air force captain in the reserves. Her protagonist in the story is also a rebel, much as Thornley herself.

Dave Wolverton, who read science texts as a child, liked writing from an early age. Science fiction gave him a means of combining his two interests. Feeling that most LDS fiction was either preaching for or against the religion, he chose to write a “Mormon story about people.” The result is “Wheatfields Beyond.”

Kathleen Dalton-Woodbury was initially intrigued by the early science fiction movie Forbidden Planet. “I’ve learned about people from science fiction,” she says. “It’s a way to see people in new situations.”  Dalton-Woodbury says the Tongans in her story are based on those she has known in the Salt Lake area, and the comet comes from Comet Bennett, which “didn’t get much publicity, but was great to look at.”

Lyn Worthen got into science fiction when “a friend lent me a book, and it went downhill from there.” She resists the notion that science fiction is inferior as literature: “The same things that touch you in a writer like Charles Dickens touch you in Ursula K. LeGuin.” Worthen’s real interest is in how people deal with unexpected cultural situations.

M. W. Worthen, who has just finished a second master’s degree, started reading science fiction because his “cool” older brother did. He started writing as a teenager. His concept for “You Can’t Go Back” comes from the fact that he likes living in Utah but knows he’ll have to leave it some day to follow his job. “I wanted to be able to take it with me, so 1 wrote a story about a guy who did,” Worthen says.


[p.373]Glenn L. Anderson is author of two novels, The Millennium File and The Doomsday Factor, both published by Horizon Publishers (Bountiful, Utah). He has written a wide range of multi-image scripts and screen material, including The Thanksgiving Promise which aired as the Disney Sunday Movie in 1986. He holds a B.A. in communications from Brigham Young University and is assistant manager and supervisor of photography at BYU’s Department of Instructional Graphics. He lives in Orem, Utah.

Virginia Ellen Baker has published short fiction in Isaac Asimov’s Science Fiction Magazine and elsewhere. Notable stories include “Pictures of Daniel,” in Tomorrow: Speculative Fiction 1 (Jan. 1993), and “Rachel’s Wedding,” in Writers of the Future (5), for which she won first place in the 1989 Writers of the Future contest. Her poetry includes “Sinai,” in Sunstone 14 (June 1990): 58. She holds a B.A. in Near Eastern studies and an M.A. in English, both from Brigham Young University. She has worked as a technical writer for Novell, Wicat, and LAN Times, and is currently the marketing communications manager for Folio Corporation. She lives in Provo, Utah.

M. Shayne Bell is author of the novel Nicoji (New York: Baen Books, 1991). His short fiction has appeared in Tomorrow: Speculative Fiction, Amazing Stories, and elsewhere. Notable are “Dry Niger” and “The Sound of the River,” both in Isaac Asimov’s Science Fiction Magazine 14 (Aug. 1990), 16 (Dec. 1992); and “With Rain, and a Dog Barking,” in The Magazine of Fantasy and Science Fiction 84 (Apr. 1993). Bell’s poetry includes “One Hundred Years of Russian Revolution: 7 November 1917 to 7 November 2017, Novaya Moskva, Mars,” in Amazing [p.374]Stories 64 (Sept. 1989). He is poetry editor for Sunstone magazine. He has worked as a technical writer for M&T Books, LAN Times, Utah Business Magazine, and GTE Health Systems, and written guidebooks to Egypt for the Simpkins Splendors of Egypt series. He lives in Salt Lake City.

Pat Bezzant makes her science fiction debut with “Finale,” in this anthology. Her play based on this story received honorable mention in Brigham Young University’s Meyhew contest. She has written for four Utah newspapers and Associated Press under the byline Pat Birkedahl. Bezzant chaired the 1989 BYU science fiction symposium, “Life, the Universe, and Everything.” She holds a B.S. in economics from George Mason University where she received a Wall Street Journal Award for excellence in economics. She lives in Provo, Utah.

Elizabeth H. Boyer has published ten novels through Dell Ray Books (New York):  The Sword and the Satchel; The Elves and the Otlerskin; The Thrall and the Dragon’s Heart; The Wizard and the Warlord; The Troll’s Grindstone; The Curse of Slagfid; The Dragon’s Carbuncle; Lord of Chaos; The Clan of the Warlord; and The Black Links. Her short fiction includes: “The StiIlborn Heritage,” in Four from the Witch World, Andre Norton, ed. (New York: Tor, 1989); “Borrowing Trouble,” in Catfantastic, and “The Last Gift,” in Catfantastic 2, Andre Norton and Martin H. Greenberg, eds. (New York: DAW, 1989, 1991). Boyer holds a B.A. in English from Brigham Young University. She is currently writing a movie script of her novel The Sword and the Satchel and is under contract with Dell Ray Books for two more novels. She lives in Herriman, Utah.

Orson Scott Card is author of sixteen novels, eleven of which were published by Tor (New York): Ender’s Game; Speaker for the Dead; Xenocide; Seventh Son; Red Prophet, Prentice Alvin; The Memory of Earth; The Call of Earth; The Worthing Saga; Saints; and Lost Boys.  Other novels include A Planet Called Treason (New York: St. Martin’s Press, 1979); Wyrms (New York: Arbor House, 1987); Hart’s Hope (New York: Berkeley, 1983); The Abyss (New York: Pocket Books, 1989); and Songmaster (New York: Dial, 1980). He is the recipient of two Hugo awards and two Nebula awards. Card has published short fiction in [p.375]Omni; The Magazine of Fantasy and Science Fiction; Aboriginal Science Fiction; Amazing Stories; Analog; and elsewhere. Notable stories include “Salvage” and “America,” both in Isaac Asimov’s Science Fiction Magazine 10 (Feb. 1986), 11 (Jan. 1987); and “West,” in Free Lancers: Alien Stars 4, Elizabeth Mitchell, ed. (New York: Baen Books, 1987). His short fiction has been collected in Unaccompanied Sonata and Other Stories (New York: Dial, 1981); Maps in a Mirror: The Short Fiction of Orson Scott Card (New York: Tor, 1990); The Folk of the Fringe (Bloomfield, MI: Phantasia Press, 1989); and Cardography (Eugene, OR: Hypatia Press, 1987). In 1987, his short story “Hatrack River,” in Isaac Asimov’s Science Fiction Magazine 10 (Aug. 1986), won the World Fantasy Award for best novella. He has edited three anthologies of short fiction:  Dragons of Light (New York: Ace, 1980); Dragons of Darkness (New York: Ace, 1981); and Future on Fire (New York: Tor, 1991). Card has written two nonfiction works published by Writer’s Digest Books (Cincinnati): Character and Viewpoint and How to Write Science Fiction and Fantasy. He writes a monthly review of books for Fantasy and Science Fiction. An important critical study of Card’s fiction is Michael R. Collings, In the Image of God: Theme, Characterization, and Landscape in the Fiction of Orson Scott Card (Westport, CN: Greenwood Press, 1990). Card holds a B.A. in theater from Brigham Young University and an M.A. in English from University of Utah. He lives in Greensboro, North Carolina.

James Cummings was in a master’s program in creative writing at University of Utah when he died in 1992. He had worked for some time on a fantasy novel which was left unfinished and had written a number of unpublished short stories. He held a BA in English from University of Utah.

Kathleen Dalton-Woodbury authored “Cinders of the Great War,” a finalist in the 1992 Writers of the Future contest, and which appears in volume nine of Writers of the Future. She is director of Science Fiction and Fantasy Workshop, a support network for new and aspiring writers. She holds a B.A. in math education and an M.S. in mechanical engineering, both from University of Utah. She teaches a creative writing class at East High Community School in Salt Lake City.

[p.376]David Doering has published short fiction in The Leading Edge, including “Voyager” (Spring 1981) and “Next Year” (Fall 1981). He holds a degree in political science from University of Utah. Doering chaired the Brigham Young University science fiction symposium for four years. He has worked as a technical writer for Prentice-Hall, M&T Books, LAN Times, Novell, and Wicat, and is now a partner at Network Technical Services. He lives in Provo, Utah.

B. J. Fogg makes his first fiction sale with his story, “Outside the Tabernacle,” in this anthology. He has published essays in The University of New Mexico Review and elsewhere. His poetry includes “Dad in the Kitchen,” in Inscape (Fall 1992); “Welfare Farm Raisins,” in Wasatch Review International 1 (1992); and “Summer Games,” in Sierra Nevada College Review (Spring 1991). Fogg won the Brigham Young University annual McKay Essay Contest five out of six years in competition. In 1992 he received honorable mention in the Utah Arts Council’s annual Original Writing Competition. He holds a B.A. and an M.A. in English, both from BYU. He is currently a Ph.D. student in communications at Stanford University.

Melva Gifford has published over one hundred short stories in fanzines such as Gambit, Magnificent Seven, and Abode of Strife. Notable are “Take Out the Trash,” in The Leading Edge 12 (Fall 1986); “Proximity,” in Dark Between the Stars 4 (1991); and “The Meeting,” in Dark Lord 1 (July 1982). Two of her stories are used in an interactive computer program in teaching English as a second language. She edits Integrity and has edited an issue of The Monocle. Her poetry has appeared in Compadres, Rassilon’s Star, and elsewhere, and she has written about the art of writing for Solar Winds. Gifford currently works at Intel as a tech-support engineer. She lives in Provo, Utah.

Charlene C. Harmon has published poetry in The Leading Edge, Zarahemla, The Poet’s Pen, and elsewhere. Notable poems include “Moonspider,” in Amazing Stories 63 (July 1989); and “Evanescence,” in Midnight Zoo 2 (3). Her contribution to this anthology, “Pueblo de Sión,” is her first published short story, which she intends to expand into a novel. Harmon holds B.A. degrees in Spanish and English from Brigham Young University. She lives in Salt Lake City.

[p.377]Diana Lofcran Hoffman makes her science fiction debut with “Other Time,” in this anthology, and is currently writing her first novel. She holds a B.A. in illustration from Brigham Young University. She lives in Cupertino, California.

Barbara R. Hume is author of “A Hearth on Terra,” serialized in The Leading Edge, 2-5 (Fall 1981-Spring 1983). Her short fiction includes “Tribute” and “Truth or Consequences,” both published in The Leading Edge. Hume holds a B.A. in English education from Radford University, an M.A. in English literature from Virginia Polytechnic Institute and State University, and is completing a Ph.D. in English from BYU. She has worked as a technical writer for M&T Books, Novell, and LAN Times. In 1989 she founded her own company, Tristan Gareth, Inc., and is also a partner with Network Technical Services. She lives in Provo, Utah.

Carolyn Nicita is currently writing her first novel. Her short fiction includes “Recycling,” in Tomorrow: Speculative Fiction 1 (July 1993), and “Eye Hath Not Seen,” in The Leading Edge 6 (Fall 1983). She has written a radio drama, “Saboteur,” which was broadcast on KUER in Salt Lake City in 1993. Nicita composes songs and scores and writes multimedia fiction for the computer. She holds a B.A. in English from Brigham Young University. She lives in Provo, Utah.

Michaelene Pendleton has published short fiction in such publications as Amazing Stories. Notable are “Professionals,” in Isaac Asimov’s Science Fiction Magazine 15 (mid-Dec. 1991); “Sardines,” in Omni 11 (Apr. 1989); and “Rising Star,” in The Magazine of Fantasy and Science Fiction 84 (June 1993). She co-authored a book on the Anasazi, Canyon Country Prehistoric Indians: Their Culture, Ruins, Artifacts, and Rock Art (Salt Lake City: Wasatch Publishers, 1979). Pendleton holds a B.A. in psychology. She lives in Moab, Utah, where for several years she operated a bed and breakfast and now writes full time.

D. William Shunn sold fiction to 2AM Magazine, Eldritch Tales, and other publications. Notable are “From Our Point of View We Had Moved to the Left,” in The Magazine of Fantasy and Science Fiction 84 (Feb. [p.378]1993); “In the Dark,” in Science Fiction Age 1 (Sept. 1993); and “Cut without Hands,” in LDSF-2 (Ludlow, MA: Parables, 1985). In 1990 he received the University of Utah Madelyn S. Silver Scholarship for achievement in literature. He holds a B.S. in computer science from University of Utah and works as a software developer for WordPerfect Corporation. Shunn lives in Orem, Utah.

Diann Thornley is author of the novel Ganwold’s Child (Xenia, OH: Synapse Press, 1991). She has published short fiction in The Leading Edge and elsewhere. She holds a B.A. in political science from Brigham Young University, served as a captain in the U.S. Air Force, and now lives in Xenia, Ohio.

Dave Wolverton has authored five novels: On My Way to Paradise, Serpent Catch, Path of the Hero, Star Wars: The Courtship of Princess Leia, and The Golden Queen, all published by Bantam (New York). His short fiction has appeared in such publications as Tomorrow:  Speculative Fiction. Notable are “The Sky Is an Open Highway,” in Isaac Asimov’s Science Fiction Magazine 12 (July 1988); “Siren Song at Midnight,” in The Ultimate Dinosaur, Robert Silverberg and Martin H. Greenberg, eds. (New York: Bantam, 1992); and “My Favorite Christmas,” in Christmas Forever, David Hartwell, ed. (New York: St. Martin’s Press, 1993). Wolverton is a full-time writer who occasionally teaches writing workshops. In addition, he is coordinating judge for the Writers of the Future Contest and edits the annual Writers of the Future anthology. He lives in Provo, Utah.

Lyn Worthen has published fiction in The New Era and poetry in The American Poetry Annual. She holds B.A. degrees in communications and Spanish translation and has worked as a free-lance writer since 1989. She is married to M. W. Worthen, who also has a story in this anthology. They live in Provo, Utah.

M. W. Worthen publishes his first science fiction story, “You Can’t Go Back,” in this anthology. He holds a B.A. in Spanish translation and an M.A. in Hispanic linguistics and teaching English as a second language.