This year’s list of The World’s 50 Best Restaurants was announced earlier this week, and all I could think as I scrolled down the names was how the pandemic has curtailed my foreign travels. In previous years, I was able to say I’d dined at as many as eight on such lists, but this year, only two.

But what a wonderful two! You can check out our dinners at Steirereck (#18) and Boragó (#29) via the links below.

1. Central, Lima
2. Disfrutar, Barcelona
3. Diverxo, Madrid
4. Asador Etxebarri, Atxondo, Spain
5. Alchemist, Copenhagen
6. Maido, Lima
7. Lido 84, Gardone Riviera, Italy
8. Atomix, New York City [Highest Climber]
9. Quintonil, Mexico City
10. Table by Bruno Verjus, Paris [Highest New Entry]
11. Trèsind Studio, Dubai
12. A Casa do Porco, Sao Paulo
13. Pujol, Mexico City
14. Odette, Singapore
15. Le Du, Bangkok
16. Reale, Castel di Sangro, Italy
17. Gaggan Anand, Bangkok
18. Steirereck, Vienna
19. Don Julio, Buenos Aires
20. Quique Dacosta, Dénia, Spain
21. Den, Tokyo
22. Elkano, Getaria, Spain
23. Kol, London
24. Septime, Paris
25. Belcanto, Lisbon
26. Schloss Schauenstein, Furstenau, Switzerland
27. Florilège, Tokyo
28. Kjolle, Lima
29. Boragó, Santiago
30. Frantzén, Stockholm
31. Mugaritz, San Sebastian, Spain
32. Hiša Franko, Kobarid, Slovenia
33. El Chato, Bogota
34. Uliassi, Senigallia, Italy
35. Ikoyi, London
36. Plénitude, Paris
37. Sézanne, Tokyo
38. The Clove Club, London
39. The Jane, Antwerp
40. Restaurant Tim Raue, Berlin
41. Le Calandre, Rubano, Italy
42. Piazza Duomo, Alba, Italy
43. Leo, Bogota
44. Le Bernardin, New York City
45. Nobelhart & Schmutzig, Berlin
46. Orfali Bros Bistro, Dubai
47. Mayta, Lima, Peru
48. La Grenouillėre, La Madeleine-Sous-Montreuil, France
49. Rosetta, Mexico City
50. The Chairman, Hong Kong

I hope future years will allow me to once again dine more widely around the world.

As Eating the Fantastic continues to play “let’s pretend” during this pandemic year, acting as if we got the real-world conventions we wish we’d had, rather than the online ones life handed us, it’s time to head off for a Vietnamese meal with the amazing Aliette de Bodard, who’s currently both a Hugo Award and Ignite Award finalist for her story “The Inaccessibility of Heaven,” published last year in Uncanny.

She’s the author of the Hugo-Award-nominated series The Universe of Xuya, set in a galactic empire born out of Vietnamese history and culture. She’s also written the Dominion of the Fallen series, set in an alternate Paris devastated by a magical war, which includes The House of Shattered Wings, The House of Binding Thorns, and the The House of Sundering Flames.

Her short fiction has appeared in Uncanny, Beneath Ceaseless Skies, Lightspeed, Subterranean, Tor.com, and other magazines. She’s won three Nebula Awards, a Locus Award, a European Science Fiction Association Achievement Award, and four British Science Fiction Association Awards, in addition to being a finalist for the Hugo and Sturgeon Award. She was a double Hugo finalist in 2019 for Best Series and Best Novella, and was also a finalist for the John W. Campbell Award for Best New Writer in 2009.

We discussed how best to deal with imposter syndrome, the way the pandemic contributed to her completing a long-unfinished story, the phone call which sparked her to focus on more personal stories, when she realized she was building universes rather than single stories, how anger over Revenge of the Sith gave her insight into the kinds of universes she did and didn’t want to build, why the Shadow and Bone TV adaptation wasn’t the escapist entertainment she hoped it would be, how writers can fight back against the cliches popular culture puts in our heads, whether writers can control the effects of their stories when they have no idea what individual readers might bring to them, how best to use anger appropriately, the importance of a story’s final line, what she wishes she’d known about writing rules when she began, and much more.

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Last year, Eating the Fantastic traveled to New Zealand for the World Science Fiction convention, Scarborough UK for StokerCon, Los Angeles for the Nebula Awards weekend, and made various other stops on the convention circuit — because even though all of those events were forced to go virtual, I decided to act as if we had the year we deserved rather than the year we actually got.

This episode, we’re going to once again refuse to let a con going virtual steal from us the sense of community which comes when people break bread together and food loosens their tongues. This time around, we’re heading to Boston for my first con of 2021 — Boskone.

My guest this time around is Zig Zag Claybourne, the author of The Brothers Jetstream: Leviathan and its sequel Afro Puffs Are the Antennae of the Universe. His other works include By All Our Violent Guides, Neon Lights, In the Quiet Spaces, and the short story collection Historical Inaccuracies. His fiction and essays have appeared in  in Apex, Galaxy’s Edge, GigaNotosaurus, Strange Horizons, and other venues.

We discussed how creators can self-define their success to avoid jealousy and despair, why he’s always preferred Marvel to DC, how he’d annoy his family with his love of the original Star Trek, the two professors who showed him he could be a writer, why the title is the soul of a story, the most important pointer he received after reaching out to romance writer Beverley Jenkins for advice, why he does some of his best writing in the bathtub, how dialogue reveals character, whether his wild duology will ever become a trilogy, how to survive toxic fandoms, and much more.

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I’ve been wanting to chat with Mary Robinette Kowal on Eating the Fantastic ever since I brought the first episode live five years and two days ago, but alas, the stars never aligned. And now, at last, they have!

Mary Robinette Kowal is the author of the Lady Astronaut series — which so far includes the novels The Calculating Stars, The Fated Sky, and The Relentless Moon — as well as the historical fantasy novels in The Glamourist Histories series plus Ghost Talkers. Her short stories have appeared in Strange Horizons, Asimov’s, and other magazines and anthologies, and her collections include Word Puppets and Scenting the Dark and Other Stories.

She’s currently the President of SFWA, a member of the award-winning podcast Writing Excuses, and has received the Astounding Award for Best New Writer, four Hugo awards, the RT Reviews award for Best Fantasy Novel, the Nebula, and Locus awards. Her novel The Calculating Stars is one of only 18 novels to win the Hugo, Nebula, and Locus awards in a single year. She’s also a professional puppeteer and voice actor, and has won two UNIMA-USA Citations of Excellence, the highest award an American puppeteer can achieve.

We discussed the temporal differences between puppetry and science fiction conventions, how she transitioned from writing magical Regency novels to the Lady Astronaut series, why unlike many writers, she reads her reviews (albeit selectively), the reason she’s able to write relationships between reasonable people so well, how she constructs a science fiction mystery, why it’s so important she likes her characters’ clothing when she picks a project, the meaning of science fiction itself within her science fiction universe, the way she uses sensitivity readers to make her work better, how a novel is like a clear glass pitcher, and much more.

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I’d planned to break bread with award-winning writer A.C. Wise during Balticon earlier this year, and I refuse to let the conversation which would have occurred over that meal be stolen from me merely because COVID-19 prevented the convention from being held in meatspace. So we both got to baking, and now you can eavesdrop as we nibble — she on chocolate zucchini bread and me on cherry pecan bread — and pretend we had the year we wanted instead of the year we got.

Wise is a two-time finalist for the Nebula Award, two-time finalist for the Sunburst Award, and a finalist for the Lambda Literary Award. Plus she’s won the Sunburst Award for Excellence in Canadian Literature of the Fantastic. Her fiction has appeared in Uncanny, Tor.com, Shimmer, and multiple Year’s Best anthologies. Her work can also be found in two collections, The Ultra Fabulous Glitter Squadron Saves the World Again and The Kissing Booth Girl and Other Stories, both published with Lethe Press. Her debut novel, Wendy, Darling, will be out from Titan Books in June 2021, and a new short story collection, The Ghost Sequences, will be published by Undertow Books next August.

We discussed how her first professionally published fiction ended up printed on a coffee can, the 24-hour challenge which led to the creation of her Lambda Award-nominated collection, which comic book character obsesses her the most, how individual stories can act as commentary on all stories, why she enjoys wielding the power of ambiguity, how workshopping with other writers can help make stories better, what The Queen’s Gambit can teach us about dealing with reader expectations, the unexpected way a flash fiction piece turned into her first novel, and much more.

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Here at Eating the Fantastic, I’m continuing to act as if the year we’re living in isn’t really happening, and we instead got the 2020 we deserved. Which means it’s time to return for a third meal which should have happened during StokerCon, following up on my remote meals with Priya Sharma and Robert Shearman.

My guest this time around for a conversation which couldn’t happen earlier this year but which we’re going to pretend did, thanks to the urging of my Patreon supporters, is Munich-based writer Steve Toase.

Steve’s fiction has appeared in Aurealis, Not One Of Us, Nox Pareidolia, Three Lobed Burning Eye, Shimmer, Lackington’s, and other magazines and anthologies. His stories have been reprinted multiple times in volumes of The Best Horror Of The Year. He was also the lead writer on a project called Haunt, about Harrogate’s haunting presence in the lives of people experiencing homelessness there. He writes regularly for Fortean Times and Folklore Thursday. His first short story collection, To Drown In Dark Water, will be released by Undertow Publications in January.

We discussed how his COVID-19 lifestyle has been both an inspiration for and a distraction from his writing, the way reading his stories at open mic nights helped him hone his craft, the importance of dread in horror, how his background in landscape archeology helps make his fiction more visceral, the challenge of scripting a planetarium show for the visually impaired, what gave birth to his fascination with Forteana, his advice for those who’d like to improve their flash fiction, the short story sale which told him he’d made it, our shared love of the great Italo Calvino, which of his creations brings him the greatest pride, the advice he wishes he could give his younger self about writing, and much more.

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April’s StokerCon was cancelled — but not here at Eating the Fantastic. That’s because I’m on a mission to reclaim all of 2020’s convention conversations lost to COVID-19. I’ve already shared with you three “might have been” chats which would have taken place in New Zealand during Worldcon — with Lee Murray, Stephen Dedman, and Farah Mendlesohn — and now it’s time to head to Scarborough for lunch — or is it dinner? — with Priya Sharma.

Priya Sharma has published fiction in Interzone, Black Static, Nightmare, The Dark, and other venues. “Fabulous Beasts” was a Shirley Jackson Award finalist and won a British Fantasy Award for Short Fiction. “Ormeshadow,” her first novella, won a Shirley Jackson Award. All the Fabulous Beasts, a collection of some of her work, won both the Shirley Jackson Award and British Fantasy Award. She’s also a Grand Judge for the Aeon Award, an annual writing competition run by Albedo One, Ireland’s magazine of the Fantastic.

We discussed the best decision she made about her debut short story collection All the Fabulous Beasts, how the cover to that book conveys a different message in our COVID-19 world, why we each destroyed much of our early writing, a surprising revelation about the changed ending to one of her stories, who told her as a child “your soul is cracked,” the two of us being both longhand writers and defenders of ambiguity, what it’s like writing (and not writing) for theme anthologies, the most difficult story for her to write, how the pandemic has affected our writing, and much more.

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This episode, six months into the COVID-19 lockdown, is the first since my chat with Michael Dirda I was able to record the way these episodes are meant to be recorded — seated face to face with a guest over a table of delicious food. In this time when both conventions and restaurant dining are impossible, I’ve been hosting remote meals with guests whose face-to-face encounters “might have been,” most recently the previous three episodes — with Lee Murray, Stephen Dedman, and Farah Mendlesohn — which would have been recorded in the flesh in New Zealand if this year’s World Science Fiction Convention hadn’t gone virtual.

This episode, I was able to totally fulfill the mandate of this podcast, and lose myself in a meal as I sat across a table face to face with a creator. That’s because I’ve known this guest for 46 years plus a few months — and have been in constant conversation with her for almost all of that time. She’s been a part of comics and science fiction fandom several years longer than I have, and worked in comics longer than I did, too. When I started at Marvel Comics on June 24, 1974, she’d ready been there for a couple of months. She has many fascinating things to say about her time in comics — and her decades working in the romance field as well.

I’m of course talking about my wife — Irene Vartanoff — or as she was dubbed by Stan Lee — “Impish” Irene Vartanoff. Her novel Hollywood Superheroine — the final book in her comics-inspired Temporary Superheroine trilogy — was recently published, so this is the perfect time to have a chat about it all.

We discussed how she’d never have gotten into comics if not for her father’s cigar habit, what made a comic book reader become a comic book fan become a comic book professional, the “heartbreaking” advice given to her by Julie Schwartz during her teen visit to DC Comics, why her reputation as a famed letterhack meant she didn’t face the same sexism as other women in comics, what it was like working for Roy Thomas at Marvel and Paul Levitz at DC (and why she respected them both), how critiquing romance manuscripts for 25 years was like being at Marvel all over again, the secret origins of her Temporary Superheroine character, how politics changed Hollywood Superheroine, the final novel in her trilogy, why pantsing works better for her than plotting, the reason she decided to go the indie publishing route, and much more.

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Continuing to not let COVID-19 fracture the community I’ve been a part of for the past 50 years, I invite you to join me for another nibble which would have taken place during CoNZealand had the pandemic not forced the 78th World Science Fiction convention to go virtual.

I’d previously made plans to chat and chew with three guests on the ground in Wellington, but since that proved impossible, I decided to go virtual, too, urged on by my Patreon supporters. And so, during my previous two episodes, you were able to eavesdrop as I dined with Lee Murray in New Zealand and Stephen Dedman in Australia. This time around, we’re off to Stoke-on-Trent in Staffordshire, England for tea and scones with Farah Mendlesohn.

Farah was a Hugo Award finalist this year in the category of Best Related Work for her book The Pleasant Profession of Robert A. Heinlein, and had previously been nominated in that category for The Inter-Galactic Playground: A Critical Study of Children’s and Teens’ Science Fiction, and On Joanna Russ. She won a Hugo (with Edward James) in 2005 for The Cambridge Companion to Science Fiction, as well as a World Fantasy Award in 2017 for Children’s Fantasy Literature: An Introduction, which she wrote with Michael M. Levy.

She’s also edited anthologies, including Glorifying Terrorism, Manufacturing Contempt: An Anthology of Original Science Fiction, which she created to protest laws introduced by the British Government she saw as restricting free speech. She was the chair of the Science Fiction Foundation from 2004-2007, served as President of the International Association of the Fantastic in the Arts from 2008-2011, and is currently an Associate Fellow of The Anglia Ruskin Centre for Science Fiction and Fantasy.

We discussed the reasons Robert A. Heinlein resonated with her, how her early and current readings of Heinlein differ, why the science fiction of the ’30s was far more politically radical than that of the ’40s and ’50s, her deliberately controversial comment about Ursula K. Le Guin, the circumstances under which she’s more interested in the typical rather than the groundbreaking, that period during the ’20s when everyone was fascinated by glands, the one Heinlein book she wishes we’d go all back and reread, our joint distaste for fan policing, and much more.

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In a world without COVID-19, I’d be recovering from jet lag right about now after my trip to Wellington to attend CoNZealand, the 78th World Science Fiction convention. But that’s not what’s happening, because the con went virtual, as so many cons have this year, which meant I attended at home in my pajamas.

Which also meant there were no restaurant outings during that con with creators of the fantastic from which I could bring back conversations to share with you. But thanks to a push from some of my Patreon supporters, I decided — the chats I’d planned shouldn’t be lost. And so although my guests and I couldn’t be seated at the same table sharing the same food and breathing the same air, Eating the Fantastic goes on, even if that means sharing meals across thousands of miles and a dozen or more time zones.

Last episode, I had a long-distance meal with the award-winning New Zealand writer and editor Lee Murray, my dinner and her lunch the following day — and this episode I have breakfast while Australian writer Stephen Dedman has dinner 12 hours in my future.

Stephen has published more than 100 short stories, some of which I was privileged to publish back when I was editing Science Fiction Age magazine. You can find many of those stories in his collections The Lady of Situations (1999) and Never Seen by Waking Eyes (2005). His novels, which include The Art of Arrow Cutting (1997), Foreign Bodies (1999), Shadows Bite (2001), and others, have been Bram Stoker, Aurealis, William L. Crawford, and Ditmar Award nominees. He’s also written role-playing games, stageplays, erotica, and westerns. And he at one time worked as a “used dinosaur parts salesman,” a job which had me extremely curious — and as you listen to us chat and chew, you’ll find out all about it.

We discussed how the Apollo 11 moon landing introduced him to science fiction, what his father told him which changed his plan to become a cartoonist, the huge difference the Internet made in the lives of Australian writers, his creative trick for getting his first poem published, what acting taught him about being funny in the midst of tragedy, his former job as a used dinosaur parts salesman, the way page one tells him whether he’s got a short story or novel idea, how Harlan Ellison became the first American editor to buy one of his stories, and much more.

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