Arrate Hidalgo, Managing Editor
Arrate Hidalgo is an editor, literary translator, and writer working for the visibility of queer and feminist speculative fiction in English and Spanish. Her short fiction, poetry, essays, and translations have been featured in zines, journals, and books including The WisCon Chronicles 9: Intersections and Alliances and Fae Visions of the Mediterranean. She has been associate editor at Aqueduct Press since 2015.
Nisi Shawl, Reviews Editor
Nisi's story collection Filter House (Aqueduct Press, 2008) won the James Tiptree Jr. Award.  Since 1999 Shawl has reviewed science fiction for the Seattle Times.  She is coeditor of the anthology Strange Matings: Octavia E. Butler, Science Fiction, African American Voices, and Feminism, and editor of WisCon Chronicles 5: Writing and Racial Identity.
L. Timmel Duchamp, Features Editor
Timmi is a writer as well as an editor and the founder of Aqueduct Press. Her short fiction has appeared on several Tiptree Honor Lists as well as been a finalist for the Sturgeon and Nebula Awards, and in 2010 her five-novel Marq'ssan Cycle received special recognition from the Tiptree jury.
Kath Wilham, Arts Editor
Kath has been involved in graphic design and production, both on the job and as an activist, since she and Timmi worked with a team organizing a four-day art event in 1987— Low Intensity Conflict in El Salvador: High Intensity Laboratory Exposing the War. She is one of the founding crew of Aqueduct Press and also been a copy editor since 1995.

Mission Statement

Here in the Pacific Northwest, we live in the Cascadia subduction zone. Massive, almost unimaginable earthquakes lurk in our past and loom in our future. Frequently we experience “slow earthquakes” that move the earth beneath us, imperceptible except through technology. Occasionally a mountaintop blows, awing us with its power. The denser plate of oceanic crust—the Juan de Fuca Plate—is being forced deep into the Earth's interior beneath the North American continental plate in a process known as subduction, and as the plate encounters high temperatures and pressures that partially melt solid rock, some of this newly formed magma rises toward the Earth's surface to erupt, forming a chain of volcanoes above the subduction zone (Brantley,1994, Volcanoes of the United States).Humans like to think of the earth as the ultimate symbol of stability: hence the cliché “down-to-earth.” But in the Cascadia subduction zone, “down-to-earth” necessarily means something else. To be grounded, here, is to be ever mindful of the plates shifting below us, slipping and striking and moving magma, of sloping fault lines that separate and yet merge, of one plate being inexorably pushed beneath another, with enormous consequences.   

The Cascadia Subduction Zone aims to bring reviews, criticism, interviews, intelligent essays, and flashes of creative artwork (visual and written) to a readership hungry for discussion of work by not only men but also women. Work by women continually receives short  shrift in most review publications. And yet the majority of readers are women. Ron Hogan writes in an August 2010 post on Beatrice.com, “[Jennifer] Weiner and [Jodi] Picoult, among others, are giving us a valuable critique of a serious problem with the way the [New York] Times [Book Review]—and, frankly, most of the so-called literary establishment—treats contemporary fiction. Which is to say: They ignore most of it, and when it comes to the narrow bandwidth of literature they do cover, their performance is underwhelming, ‘not only meager but shockingly mediocre,’ as former LA Times Book Review director Steve Wasserman said three years ago. And it hasn’t gotten any better since then, leaving us with what Jennifer Weiner describes as “a disease that’s rotting the relationship between readers and reviewers.”

The relationship between readers and reviewers interests us. We want to bring attention to work critics largely ignore and offer a wider, less narrowly conceived view of the literary sphere. In short, we will review work that interests us, regardless of its genre or the gender of its author. We will blur the boundaries between critical analysis, review, poetry, fiction, and visual arts. And we will do our best to offer our readers a forum for discussion that takes the work of women as vital and central rather than marginal. What we see, what we talk about, and how we talk about it matters. Seeing, recognizing, and understanding is what makes the world we live in. And the world we live in is, itself, a sort of subduction zone writ large. Pretending that the literary world has not changed and is not changing is like telling oneself that Earth is a solid, eternally stable ball of rock.