Ursa Major Nominations Are Open

Nominations for the Ursa Major Awards are open through February 15th.

The Ursas aim to be Anthro-fandom’s equivalent to Hugo Awards. It’s awarded in multiple categories for excellence in the arts where the subject pertains to anthropomorphic animals. Does this mean furry? Yes, it means furry, but it also means other things.

The Ursa Awards are nominated and voted for by fans. There is no membership to buy or dues to pay. You simply need to sign up on their website and submit your nominations.

“But Cirsova, you’re not a furry publication!”


No, we’re not a “Furry” publication, so don’t nominate us in the magazine category. However, because we understand that anthropomorphic animals and beastmen are an important staple of action adventure and science fiction, we have become seen as (and are) a “furry-friendly” publication. We’ve published anthro stories in the past and have some slated for the future.

We do have two stories that are eligible in the Short Fiction category:

  1. The First American, by Schuyler Hernstrom (Issue 5) – [Features lizardmen and human-to-lizard transformation]
  2. Beyond the Great Divide, by S.H. Mansouri (Issue 5) – [About and from the perspective of a race of insectiod hive-mind warriors]

Note that there are other works in the PulpRev sphere that are also eligible. Off the top of my head, Julie Frost’s werewolf detective stories, Dominika Lein’s Reptilian Wanderer novella, and Yakov Merkin’s Galaxy Ascendant books would all be eligible. Also, as Brian K Lowe reminded me below, his book The Cosmic City is also eligible.



Cirsova’s Planetary Awards Nominee: Out of the Soylent Planet, by Robert Kroese

I’m killing two birds with one stone on this one. Robert Kroese’s Out of the Soylent Planet is my pick for this year’s Planetary Awards in the long-form category.out of the soylent planet

On paper, Kroese’s Rex Nihilo series seems like the last thing I’d enjoy—a snarky, self-aware, often parodic science fiction series featuring a sleazy protagonist whom I’ve described as a cross between Jon Lovitz’s Tommy Flannagan character and Zapp Brannigan.  But the strength of Kroese’s writing and his sense of humor accomplish the herculean task of keeping his premise from descending into obnoxious twee. While the first book, “Starship Grifters”, cleaves dangerously close to Star Wars parody, the sequel, “Aye, Robot” abandoned much of the familiar plot beats and moved away from parody, delving further into the realm of satire.

I was worried, then, that “Out of the Soylent Planet” might return to the safer realms of parody when it began with a direct send-up of New Hope’s opening, with SASHA standing in for 3P0. And it was a prequel, no-less!

My fears were quickly allayed, however, as Out of the Soylent Planet progressed rapidly into new territory, establishing the relationship between SASHA and Rex, further developing SASHA’s nature as a near-sentient AI without retreading the first two books, and using some wild and exciting set-ups to do so.

Out of the Soylent Planet is self-aware, and many of the characters are dangerously (wrong) genre savvy, but Kroese handles all of this exceptionally well. He uses Rex to explore the nature of the picaresque hero over the course of the series while even hanging a lampshade as other characters discuss what qualifies one to be a lovable rogue. Like Obi-Wan’s villainy, it all comes down to “a certain point of view.”

While Out of the Soylent Planet is a prequel, it is written in such a way that it could stand alone to a reader new to the series but does not belabor descriptions and exposition which readers of the previous books might be familiar with. The first installment suffered a bit from the “Only Sane Man” trope with SASHA playing the straight-man to the insanity of the entire universe. While there are plenty of mixed up characters in Out of the Soylent Planet, much of that burden is taken off SASHA’s shoulders, giving her a few odd but competent and reliable characters to play off of. This lets her character have some fun/self-indulgence without risking having the world fall to pieces around her. The only weakness it has is an absence of Pepper Melange. Then again, part of what Pepper brought to the stories was that sense that there were people in the universe besides SASHA who were competent (who were not stark-raving mad or lunatic idiots), and by giving SASHA and Rex other ‘straight men’ to play off of, her absence will not be felt by new readers so much as by existing fans of the character.

Even if you haven’t been reading Kroese’s Rex Nihilo Series, this one is worth picking up and diving into.

Just a reminder to readers and other book bloggers: You too can nominate for the Planetary Awards. As a publisher, Cirsova is abstaining from nominating in the short form category, but there’s been a lot of love so far for Schuyler Hernstrom’s “The First American.” All you have to do to nominate a work is post on your blog what you think should receive a Planetary Award and why. Feel free to nominate something we published in 2017.

2017 Story Eligibility By Category

I would be remiss if I did not highlight what awards categories the stories we published in 2017 were eligible for:


  • The First American, by Schuyler Hernstrom (#5)


  • The Last Job on Harz, by Tyler Young (#6)
  • The Magelords of Ruach, by Abraham Strongjohn (#6)

Short Story

  • War of the Ruby, by Brian K. Lowe (#5)
  • Darla of Deodanth, by Louise Sorensen (#5)
  • In the Gloaming O My Darling, by Misha Burnett (#5)
  • The Queen of Shadows, by Jay Barnson (#5)
  • Beyond the Great Divide, by S.H. Mansouri (#5)
  • Shapes in the Fog, by Brian K. Lowe (#5)
  • Through the Star-Thorn Maze, by Lynn Rushlau (#5)
  • The Bears of 1812, by Michael Tierney (#5)
  • A Killing in Karkesh, by Adrian Cole (#5)
  • Death on the Moon, by Spencer E. Hart (#6)
  • The Battlefield of Keres, by Jim Breyfogle (#6)
  • Othan, Vandal, by Kurt Magnus (#6)
  • Temple of the Beast, by Harold R. Thompson (#6)
  • Tear Down the Stars, by Adrian Cole (#6)


  • My Name is John Carter (Part 4), by James Hutchings (#5)
  • My Name is John Carter (Part 5), by James Hutchings (#6)

Reminder: Subscriptions are Open!

You can get your subscription for Cirsova Heroic Fantasy and Science Fiction Magazine for as low as $1!

Issue 7 Cover 1 Front Cover lower res

We need to increase our readership if we’re going to keep this going. Our target for next year is 200 subscribers. Tell your friends!

We’ll have the art for Summer available soonish and will be posting it as soon as it’s ready.

For those of you who’ve been digging the art for spring, you can get it on Mugs, T-Shirts and more from our Tee Public store!

Sick Kitty Super Sale Fundraiser

I hate eBegging, so I’m not going to eBeg unless I get really desperate. But here’s the scoop…

This is Millie, my one year old kitty:Millie.png

She’s had a handful of health problems and managed to rack up quite a vet bill! While it looks like some recent freelance work will cover her bloodwork and heartworm test, she still needs a chest X-Ray and some some medicine, which will total out to an additional $250.

Kitty comes before Cirsova, so this will be coming largely out of our 2018 art budget (which at the moment has just shy of that amount actually sitting in it).

If you want to help out either Millie or the Magazine, here’s what you can do to help:

Buy an ad in the Spring issue. This will help right away because that money doesn’t have to filter through payment networks for a month before hitting the account. I know that it’s gonna be a minute before the Spring issue comes out (late February/early March), but at this point it would really help us out.

Buy a hardcover. We make a bit more per unit on these, so if a dozen or so folks spring for one, it would shore up our budget a lot. Everyone who’s gotten these has been blown away by the quality.

-Buy softcover copies for your friends. Or for your doctors and dentists. If you want to buy a stack so you can leave copies in waiting rooms, we offer really cheap bulk rates ($30 for 5 copies + $20 for each additional 5). This would also fall under “helping right away”, since you’d pay us directly and we’d put in the fulfillment order.

Buy yourself a copy on Amazon. Even though the money will take a few weeks to filter to our account, healthy and steady sales allow us to keep our coffers reasonably filled, especially when accounting for emergencies that can hit the personal budget hard.

-If you already have copies of every issue, feel free to buy some Cirsova Merch.

Robert E. Howard, Feminist! – Guest Post by Paul Lucas

Now that I’ve click-baited you with that misleading title, I’m going to spend some time introducing you to one of The Forgotten Kick-Ass Women of PulpTM – Dark Agnes, the heroine of REH’s Sword Woman. And kick-ass she most certainly is.

According to both howardworks.com and isfdb.com, Sword Woman was not published during Howard’s lifetime, so it’s hard to date. However, C. L. Moore corresponded with him about it at the start of 1935 – she loved it – which gives us a reasonable idea. It’s been published a few times since it was rediscovered, but the version I read was in The Second Book of Robert E. Howard, edited by Glenn Lord, published by Zebra Books in 1976.

Our heroine is called Dark Agnes because of her ferocity, not because of her colouring. In fact, she is one of those redheads that fantasy writers love so much. REH even works that into the first line of the story. “Agnes! You red-haired spawn of the devil, where are you?” It was my father calling me, after his usual fashion.”

So, we are quickly introduced to Agnes de Chastillon, a fiery young woman living in a village in post-mediaeval France. The story starts on the day that she is supposed to be married off to the ‘fat pig’ Francois by her brute of a father, who thinks nothing of knocking her out and dragging her home by the hair when she refuses. In a moving early scene, Agnes’s downtrodden sister gives her a knife with which to take her own life and save herself from a life of drudgery. Of course, this being an REH story, Agnes disdains both choices proffered to her by other people – death or domestic slavery – and uses the knife for something else – to cut her way to freedom. She stabs her betrothed, flees, makes a friend on the road called Etienne Villiers, but is betrayed by him and almost sold into prostitution, beats him up in return, makes another friend, the more honourable Guiscard de Clisson, a leader of mercenaries, then fights again, is shot and so on and so forth, as you’d expect of Howard.

However, this isn’t a manic story, just fast paced. The story is told through lots of action, but the action fits the psychology of Agnes. She is a female berserker, driven with rage to fight her way out of her vulnerable position in society. Indeed, I was convinced enough by her rage and her backstory, which are given in a few vivid strokes by Howard, to overcome my disbelief about her fighting abilities. She doesn’t suddenly turn into a fighting machine, but develops by stages, first standing up to her father, then stabbing her betrothed, and progressing from there. Even so, she is not invulnerable and needs some help in becoming the independent fighting woman she wants to be to escape from the drudgery of domestic life.* Hence, she gains her own martial mentor who is then shuffled off the page, Obi-Wan Kenobi style, when he’s served his purpose. Pulp writers never let a character grow old or outlive their usefulness.

Most of the men who mistreat Agnes, she either kills or beats up herself in one of her rages, or they suffer at the hands of others. In this, she is a catalyst for chaos, but the chaos is already part of her society and she simply brings it out. Her brutal father is ‘marked with scars gotten in the service of greedy kings and avaricious dukes’. The land outside their village is a desperate place filled with criminals, vagrants, wandering mercenaries, and retainers working for unscrupulous nobles. France and the Holy Roman Empire are on the brink of war. It is a turbulent age. No wonder she is so angry all the time.

Agnes is simply someone fighting against her position in a dangerous society, and the same applies to her friend-cum-adversary Etienne Villiers. He is initially her silver tongued rescuer but is later revealed to be a blackguard; however, he does, perhaps, have more fairness buried even deeper still. Both of them are interesting characters with their own sense of honour, their own moral codes, perhaps alien to those of us living in the twenty-first century. It’s their alien codes that gives these characters life, their sparkle.

Despite all the indignities heaped on Agnes, the story isn’t a hate filled screed against men, nor is it a political tract – not that you’d expect any of that from Howard. He just produced a story with a different type of protagonist for his market – a peasant girl. He did give her the expected motivation for many a fictional character – the desire to escape a miserable life – but made sure her motivation was different in other ways – the need to escape a forced marriage to a man she despises, and the need to hide her sex from the world as she flees. That gave Howard interesting material to combine into something new, and it worked. Given Agnes’ background, you would almost think that Howard was writing the prototype of a progressive or feminist story, but in his case the ‘progressive’ elements were there in the service of the story rather than driven by a political agenda.

In fact, Dark Agnes is much more interesting than the gender-neutral characters we see in a lot of stories these days – ‘there are no differences between the sexes’. Thankfully, 1 To use the jargon, she has a character arc. Howard harnessed these differences between men and women, their psychologies and their positions in their society, to produce a vivid and exciting story, much as C. L. Moore did with Black God’s Kiss. It’s no wonder the Queen of Weird Fiction liked this story so much.

My blessings! I can’t tell you how much I enjoyed ‘Sword Woman.’ It seemed such a pity to leave her just at the threshold of higher adventures. Your favorite trick of slamming the door on a burst of bugles! And leaving one to wonder what happened next and wanting so badly to know. Aren’t there any more stories about Agnes?

In fact, there were two sequels, Blades for France, which was left unpolished, and Mistress of Death, left unfinished. Howardworks.com and ISFDB list the completed 2 3 and published versions of these stories.

*To use the jargon, she has a character arc.

Paul Lucas is a writer with a story in an upcoming issue of Cirsova Heroic Fantasy and Science Fiction Magazine; he can be found here on WordPress.

Did You Just Misgender Leigh Brackett!?

Okay, there’s been this long-running narrative myth that while Leigh Brackett didn’t have to change her name to hide that she was a woman, she somehow flew beneath the radar with a masculine sounding sound name and found success that would’ve been denied to her if it were more commonly known she was not a man.

Well, I’ve found a smoking gun.

Not only was it known that Leigh Brackett was a woman, Wilbur Peacock, the editor of Planet Stories at the time, went out of his way to correct someone who referred to Brackett as “he” in a letter to the Vizigraph (Planet Stories’ letters section).

Brackett Planet Stories

Planet Stories, May 1943 Issue, P 124

This was relatively early in Brackett’s career, too. She’d only been publishing scifi in the pulps since around 1940, but in 1943 Peacock stated with confidence (and accuracy) that she would be one of the greats of science fiction.

So, a couple things. Sometimes the pulps, SF pulps in particular, are painted as some kind of boys’ club, yet most evidence I’ve seen implies that couldn’t be further from the truth. Weird Tales had several women writing both stories and letters. The issue of Thrilling I read had a pretty even split in the letters section. This is one of the earlier Vizigraphs I’ve read; here you have the Editor not only praising Brackett and confirming that she’s a woman, he even encourages the female readership he’s certain exists to interact more and get involved. Given that the later issues I’ve read tended to have more women writing into to the letters section, it seems they did!  Even if there wasn’t anything close to gender parity, the picture of the pulps and sci-fi as hostile and closed off to women just doesn’t jibe with reality.

Anyway, I would’ve included some more links, but Jeffro scooped me on writing the actual article, since I found this over the weekend and was gonna wait (but clearly this was important enough that it couldn’t wait!)