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The text Local Flavor against a retrofuturistic design of a rounded triangle shape with an orangey swirl pattern.

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A collection of local products, including Jones Soda, Ste. Chateau Michelle wine, Tim's potato chips, Tree Top apple juice, Theo chocolate, Oberto beef jerky, and Brown & Haley almond rocha and a candy bar.

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The Pacific Northwest is home to lots of great food products, some of which you may have seen elsewhere. In addition to the vibrant wine, cider, beer, and spirit makers in the region (and there are so many), we’re home base for some fun foods—Jones Soda, Brown & Haley candy, Oh Boy! O’Berto, Almond Roca, a bunch of chocolatiers, and Tim’s Cascade Chips, to name just a tiny fraction. You’ll be able to find many of these in local shops, including the Bartell Drugs store at 5th and Olive, while you’re at the convention. Here are a few of our favorites:

Photo © J. Morgan.

Chukar Cherries: Apples and berries aren’t the only things that grow well in Washington—we’re also a major grower of stone fruits, including cherries. Chukar Cherries makes a wide range of snacks made from dried fruit, chocolate, and nuts, and makes great gifts. If you’re looking for a quick pick-me-up that you can stash in your pocket for those long convention days, Chukar Cherries has got you covered. They have a stall at the Pike Place Market, just down the street from the convention center.

Brown & Haley: Founded in Tacoma in 1912, Brown & Haley make Mountain Bars, which might not be familiar to folks from outside the region, and Almond Roca, which has a wider renown. Look for Almond Roca’s signature pink tin, which was created as a way to extend the shelf life of these chocolate-coated toffee candies.

Tim’s Cascade Chips: A relative newcomer, Tim’s has only been around since 1986, but they are Washington natives taking advantage of Washington’s and Idaho’s suitability for growing potatoes. While they’re most popular here, they can be found all over the U.S. and even in parts of Asia.

Tree Top: Tree Top is the first grower-owned fruit-processing cooperative in the U.S. Tree Top’s juice, applesauce, and other fruit products are widely distributed throughout the Western United States and abroad.

Local Chocolatiers: Seattle is home to several great chocolate brands. While you’re here, check out Theo Chocolates, the first U.S.-based fair trade and organic cocoa producer. Seattle Chocolate Company produces fantastic bite-sized truffles that can be found anywhere that tourists go. Fran’s Chocolates has only been around since the 1980s but has been credited with “sparking the artisan chocolate renaissance in the United States.”

https://seattlein2025.org/2024/11/27/local-flavor-local-product-roundup/

#BrownAndHaley #ChukarCherries #FranSChocolates #SeattleChocolateCompany #TheoChocolates #TimSCascadeChips #TreeTop

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The Pacific Northwest is home to lots of great food products, some of which you may have seen elsewhere. In addition to the vibrant wine, cider, beer, and spirit makers in the region (and there are so many), we’re home base for some fun foods—Jones Soda, Brown & Haley candy, Oh Boy! O’Berto, Almond Roca, a bunch of chocolatiers, and Tim’s Cascade Chips, to name just a tiny fraction. You’ll be able to find many of these in local shops, including the Bartell Drugs store at 5th and Olive, while you’re at the convention. Here are a few of our favorites:

Photo © J. Morgan.

Chukar Cherries: Apples and berries aren’t the only things that grow well in Washington—we’re also a major grower of stone fruits, including cherries. Chukar Cherries makes a wide range of snacks made from dried fruit, chocolate, and nuts, and makes great gifts. If you’re looking for a quick pick-me-up that you can stash in your pocket for those long convention days, Chukar Cherries has got you covered. They have a stall at the Pike Place Market, just down the street from the convention center.

Brown & Haley: Founded in Tacoma in 1912, Brown & Haley make Mountain Bars, which might not be familiar to folks from outside the region, and Almond Roca, which has a wider renown. Look for Almond Roca’s signature pink tin, which was created as a way to extend the shelf life of these chocolate-coated toffee candies.

Tim’s Cascade Chips: A relative newcomer, Tim’s has only been around since 1986, but they are Washington natives taking advantage of Washington’s and Idaho’s suitability for growing potatoes. While they’re most popular here, they can be found all over the U.S. and even in parts of Asia.

Tree Top: Tree Top is the first grower-owned fruit-processing cooperative in the U.S. Tree Top’s juice, applesauce, and other fruit products are widely distributed throughout the Western United States and abroad.

Local Chocolatiers: Seattle is home to several great chocolate brands. While you’re here, check out Theo Chocolates, the first U.S.-based fair trade and organic cocoa producer. Seattle Chocolate Company produces fantastic bite-sized truffles that can be found anywhere that tourists go. Fran’s Chocolates has only been around since the 1980s but has been credited with “sparking the artisan chocolate renaissance in the United States.”

https://seattlein2025.org/2024/11/27/local-flavor-local-product-roundup/

#BrownAndHaley #ChukarCherries #FranSChocolates #SeattleChocolateCompany #TheoChocolates #TimSCascadeChips #TreeTop

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The text Local Flavor against a retrofuturistic design of a rounded triangle shape with an orangey swirl pattern.

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The text Fantastic Fiction against a retrofuturistic design of a rounded triangle shape with a gold swirl pattern.

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Cover of the 1961 edition of Kafka's Metamorphosis, with white-on-black art of a person standing over a giant cockroach.

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Cover of the 1961 edition of Singer's Spinoza, with art of a group of people in traditional Polish dress on a city street.

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Cover of the 1961 edition of Gombrowicz's Ferdydurke, featuring the title in blue over a background of blue ink scribbles.

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The year 1961 brought Anglophonic readers three newly translated and fascinating works of speculative fiction, two of which were by Jewish authors. Franz Kafka’s Die Verwandlung und andere Erzählungen (Metamorphosis and Other Stories), Isaac Bashevis Singer’s Der Spinozist (The Spinoza of Market Street), and Witold Gombrowicz’s Ferdydurke are concerned with the world lurking beneath what we see as reality. Dark fantasy, the occult, magic, and the grotesque come together to make these texts unsettling forays into an alternate way of seeing the world.

Though Kafka had been translated into English since the 1930s, the 1961 edition of Metamorphosis and Other Stories, translated by Willa and Edwin Muir, suggests that, even in a decade that was filled with science fiction that was either written in or translated into English, there was a strong appetite for the absurd and strange. Many speculative fiction readers know the anthology’s included novella The Metamorphosis, in which a man is inexplicably transformed into a bug and must live his life within this strange limitation, unable to interact normally with other humans. Scholars have suggested that Kafka’s life as a Czech Jew writing in German enabled him to more readily explore alternate realities and unexpected points of view.

Like Kafka, Isaac Bashevis Singer was a Jewish author interested in the absurd and inexplicable. Winner of the Nobel Prize for Literature in 1978, Singer was quite prolific and, to date, the only Nobel Prize laureate writing mostly in Yiddish. Multiple collections of his stories have been translated into and published in English in the 1960s. In 1961, Curt Leviant’s translation of The Spinoza of Market Street offered Anglophone readers a unique perspective on a vanishing world: Polish Jewry before the Holocaust. In general, Singer’s stories explore evil temptations, folklore, legends, and mysticism. The earthly and demonic battle it out in Spinoza’s stories with, in the words of Kirkus Reviews, “fanciful worlds inhabited by marriage brokers, derelicts, rabbis possessed by the devil, moneylenders, ghosts, dybbuks, attended by all the rituals, superstitions and behavior of antique Jewish custom.”

The work of Polish author Witold Gombrowicz, like the works of Kafka and Singer, is steeped in the absurd and grotesque. Gombrowicz, like other Polish fantasists writing in the early-to-mid-twentieth century, was fascinated by the world behind or beneath everyday reality, as explored in the artistic movements of Decadence, Surrealism, and Expressionism. Gombrowicz’s first novel, Ferdydurke, which was condemned as scandalous when it was first published in Polish in 1937, is the story of a man who is suddenly transformed into a teenaged boy. He then attempts to live a life without constraints but soon learns that his life is necessarily shaped by his circumstances, and he can never really banish the ghosts of tradition and social mores, no matter how hard he tries. Eric Mosbacher’s 1961 translation of Ferdyduke allowed Anglophonic speculative fiction readers a unique window into Polish life through the experiences of a man limited by the social expectations for boys in 1930s Poland.

All three of these works capture a slice of life alien to Anglophonic readers as they are pulled into foreign worlds and ways of life that were made even more unfamiliar by their slants toward surrealism, grotesquerie, darkness, and social otherness. These stories in translation are as enjoyable and as uncanny today as when they were first written or translated into English.

As you journey to and from Seattle Worldcon 2025, consider spending some of your travel time on bringing some of yesterday’s translated speculative fiction into your today and tomorrow!

https://seattlein2025.org/2024/11/22/fantastic-fiction-sf-in-central-eastern-europe/

#FranzKafka #IsaacBashevisSinger #WitoldGombrowicz

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The year 1961 brought Anglophonic readers three newly translated and fascinating works of speculative fiction, two of which were by Jewish authors. Franz Kafka’s Die Verwandlung und andere Erzählungen (Metamorphosis and Other Stories), Isaac Bashevis Singer’s Der Spinozist (The Spinoza of Market Street), and Witold Gombrowicz’s Ferdydurke are concerned with the world lurking beneath what we see as reality. Dark fantasy, the occult, magic, and the grotesque come together to make these texts unsettling forays into an alternate way of seeing the world.

Though Kafka had been translated into English since the 1930s, the 1961 edition of Metamorphosis and Other Stories, translated by Willa and Edwin Muir, suggests that, even in a decade that was filled with science fiction that was either written in or translated into English, there was a strong appetite for the absurd and strange. Many speculative fiction readers know the anthology’s included novella The Metamorphosis, in which a man is inexplicably transformed into a bug and must live his life within this strange limitation, unable to interact normally with other humans. Scholars have suggested that Kafka’s life as a Czech Jew writing in German enabled him to more readily explore alternate realities and unexpected points of view.

Like Kafka, Isaac Bashevis Singer was a Jewish author interested in the absurd and inexplicable. Winner of the Nobel Prize for Literature in 1978, Singer was quite prolific and, to date, the only Nobel Prize laureate writing mostly in Yiddish. Multiple collections of his stories have been translated into and published in English in the 1960s. In 1961, Curt Leviant’s translation of The Spinoza of Market Street offered Anglophone readers a unique perspective on a vanishing world: Polish Jewry before the Holocaust. In general, Singer’s stories explore evil temptations, folklore, legends, and mysticism. The earthly and demonic battle it out in Spinoza’s stories with, in the words of Kirkus Reviews, “fanciful worlds inhabited by marriage brokers, derelicts, rabbis possessed by the devil, moneylenders, ghosts, dybbuks, attended by all the rituals, superstitions and behavior of antique Jewish custom.”

The work of Polish author Witold Gombrowicz, like the works of Kafka and Singer, is steeped in the absurd and grotesque. Gombrowicz, like other Polish fantasists writing in the early-to-mid-twentieth century, was fascinated by the world behind or beneath everyday reality, as explored in the artistic movements of Decadence, Surrealism, and Expressionism. Gombrowicz’s first novel, Ferdydurke, which was condemned as scandalous when it was first published in Polish in 1937, is the story of a man who is suddenly transformed into a teenaged boy. He then attempts to live a life without constraints but soon learns that his life is necessarily shaped by his circumstances, and he can never really banish the ghosts of tradition and social mores, no matter how hard he tries. Eric Mosbacher’s 1961 translation of Ferdyduke allowed Anglophonic speculative fiction readers a unique window into Polish life through the experiences of a man limited by the social expectations for boys in 1930s Poland.

All three of these works capture a slice of life alien to Anglophonic readers as they are pulled into foreign worlds and ways of life that were made even more unfamiliar by their slants toward surrealism, grotesquerie, darkness, and social otherness. These stories in translation are as enjoyable and as uncanny today as when they were first written or translated into English.

As you journey to and from Seattle Worldcon 2025, consider spending some of your travel time on bringing some of yesterday’s translated speculative fiction into your today and tomorrow!

https://seattlein2025.org/2024/11/22/fantastic-fiction-sf-in-central-eastern-europe/

#FranzKafka #IsaacBashevisSinger #WitoldGombrowicz

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The text Around Seattle against a retrofuturistic design of a rounded triangle shape with an orangey swirl pattern.

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Mockup of a WA license plate with the blue Mt. Rainier graphic and the custom license plate text WRLDCON.

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Under a bright blue sky, Mt Rainier, covered in snow, rises above a treeline and field of pink and purple wildflowers.

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After a long weekend hobnobbing with fellow fans and famous professionals, you might be craving a little bit of gafiation. What better place to go than to the iconic Mt. Rainier, a mountain so famous it appears on Washington’s license plate?

One of Mount Rainier’s original Indigenous names in the local Lushootseed language is təqʷubəʔ, which has been anglicized as both “Tahoma” and “Tacoma.” The latter lends itself to the nearby city of Tacoma, while the local Puyallup Tribe of the Coast Salish People, whose reservation includes a few square miles of land within Tacoma’s city limits, will refer to the stratovolcano as Tahoma when speaking in a colonizer’s language. Many residents of Tacoma choose to refer to Mount Rainier as Tahoma out of respect for their neighbors who are the traditional and ancestral keepers of the land upon which they reside.

Just a two-hour drive from downtown Seattle, Rainier shows its majesty from the moment you get within a hundred miles of it. Mount Rainier towers over the south end of Seattle like a majestic sentinel, beckoning you to come closer and walk its ridges. When you traverse your way up to the mountain, you’ll discover Rainier is everything you imagined. You’ve dreamed of fields full of beautiful wildflowers, hiking trails for all levels of skill, wildlife of all shapes and sizes, and close-up views of some of the most majestic natural wonders this region has to offer. Lo and behold, Rainier offers all of that and more.

“Mt Rainier, cloud layer, Grand Park wildflowers” by Peter Stevens is licensed under CC BY 2.0.

The most popular area of the park is the Paradise area. This well-named section offers the Paradise Inn, named one of the Great Lodges of the West, as well as views of glaciers and flowers, as well as the incredible Skyline Trail. Other entrances are more rugged but offer different access to the park, its trails and vistas. No matter what you choose, you will find something that sparks your interests. History-lovers will want to see the Longmore Museum, while others might enjoy a stay in Ohanapecosh Campground.

Most areas around the park have weak or nonexistent cell service, so this is the perfect opportunity to truly unplug from the hectic real world.

Make sure to stop at the Wildberry Inn for classic Himalayan food served by a real Nepalese guide, or hit nearby Crystal Mountain for a breathtaking gondola ride. You can also ride the Mt. Rainier Scenic Railroad, a vintage steam locomotive which offers great food and stunning views.

No matter what you choose, Mt. Rainier will offer a perfect opportunity to wind down after the overwhelming event.

https://seattlein2025.org/2024/11/20/around-seattle-mt-rainier/

#MtRainier #Tahoma

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After a long weekend hobnobbing with fellow fans and famous professionals, you might be craving a little bit of gafiation. What better place to go than to the iconic Mt. Rainier, a mountain so famous it appears on Washington’s license plate?

One of Mount Rainier’s original Indigenous names in the local Lushootseed language is təqʷubəʔ, which has been anglicized as both “Tahoma” and “Tacoma.” The latter lends itself to the nearby city of Tacoma, while the local Puyallup Tribe of the Coast Salish People, whose reservation includes a few square miles of land within Tacoma’s city limits, will refer to the stratovolcano as Tahoma when speaking in a colonizer’s language. Many residents of Tacoma choose to refer to Mount Rainier as Tahoma out of respect for their neighbors who are the traditional and ancestral keepers of the land upon which they reside.

Just a two-hour drive from downtown Seattle, Rainier shows its majesty from the moment you get within a hundred miles of it. Mount Rainier towers over the south end of Seattle like a majestic sentinel, beckoning you to come closer and walk its ridges. When you traverse your way up to the mountain, you’ll discover Rainier is everything you imagined. You’ve dreamed of fields full of beautiful wildflowers, hiking trails for all levels of skill, wildlife of all shapes and sizes, and close-up views of some of the most majestic natural wonders this region has to offer. Lo and behold, Rainier offers all of that and more.

“Mt Rainier, cloud layer, Grand Park wildflowers” by Peter Stevens is licensed under CC BY 2.0.

The most popular area of the park is the Paradise area. This well-named section offers the Paradise Inn, named one of the Great Lodges of the West, as well as views of glaciers and flowers, as well as the incredible Skyline Trail. Other entrances are more rugged but offer different access to the park, its trails and vistas. No matter what you choose, you will find something that sparks your interests. History-lovers will want to see the Longmore Museum, while others might enjoy a stay in Ohanapecosh Campground.

Most areas around the park have weak or nonexistent cell service, so this is the perfect opportunity to truly unplug from the hectic real world.

Make sure to stop at the Wildberry Inn for classic Himalayan food served by a real Nepalese guide, or hit nearby Crystal Mountain for a breathtaking gondola ride. You can also ride the Mt. Rainier Scenic Railroad, a vintage steam locomotive which offers great food and stunning views.

No matter what you choose, Mt. Rainier will offer a perfect opportunity to wind down after the overwhelming event.

https://seattlein2025.org/2024/11/20/around-seattle-mt-rainier/

#MtRainier #Tahoma

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The text Fantastic Fiction against a retrofuturistic design of a rounded triangle shape with a gold swirl pattern.

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Black and white poster of stars in space with text that says, "You have now crossed over into…the twilight zone".

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Cover of an issue of F&SF, with a rocket ship on a lunar surface.

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It is impossible to overstate the revolution that was Rod Serling’s speculative fiction anthology show, The Twilight Zone.

On October 2, 1959, television entered the science fiction age with Twilight Zone’s debut episode, “Where Is Everybody?” The episode was pure science fiction, featuring an astronaut who returns from a lunar mission only to discover everyone had vanished. For the next five years, Twilight Zone offered a steady stream of speculative delicacies—usually more-or-less straight SF (at least by the standards of the time), although the show sometimes veered into the fantastical and often into the horrific. While there were clunky episodes, particularly as the program ran on, in the later seasons it’s increasingly clear that Serling, tasked with producing half of the scripts, ran out of ideas.

Nevertheless, The Twilight Zone managed to deliver a fairly consistent quality of programming right up to the end. More than that, it provided a high standard of writerliness, of erudite television almost single-handedly belying FCC Chair Nelson Minow’s 1961 observation that television was just a “vast wasteland.”

By the early 1950s, TV had become a widespread medium. Until The Twilight Zone, the visual airwaves were almost bereft of adult science fiction. There was kiddie fare like Space Patrol, and smug extollations of technology like Science Fiction Theater, but nothing really for grown-ups. What took so long?

Two things: Firstly, television had to grow up. When TV broadcasts began, they didn’t diverge much from their theatrical stage origins. Live shows, or ones that felt live, were the norm. Then came anthology shows like Playhouse 90, upon which up-and-comers like Rod Serling cut their teeth. By the end of the ’50s, there were enough mature TV writers to make a go of something like The Twilight Zone.

Secondly, by then, there were also enough science fiction writers for the endeavor, for The Twilight Zone resembles nothing so much as a visual translation of The Magazine of Fantasy and Science Fiction. Started in 1949, F&SF had established itself as the most literate of the SF digests, the most varied in theme and content, the most focused on shorter stories⁠… and the most willing to feature stories by and for women (thus ensuring a more balanced readership).

It is no coincidence that many of The Twilight Zone’s finest episodes were penned by folks whose names often appeared on the F&SF cover: Richard Matheson, Charles Beaumont, Robert Bloch, Jerome Bixby, Lewis Padgett, Henry Slesar, Ray Bradbury.

The impact of Serling’s project, F&SF in living black and white, still echoes today. There have been three revivals and, even today, countless inspirations like Black Mirror and Love, Death, and Robots. Serling’s likeness and the words “submitted for your approval” have become part of our memetic vocabulary.

So, when you go to Seattle Worldcon 2025, revel in the fact that you are largely breathing the same cultural air that con-goers were breathing waaay back at Seacon 1961. There’s a signpost up ahead—you’re still well within The Twilight Zone!

https://seattlein2025.org/2024/11/15/fantastic-fiction-a-signpost-up-ahead/

#RodSerling #TheTwilightZone

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It is impossible to overstate the revolution that was Rod Serling’s speculative fiction anthology show, The Twilight Zone.

On October 2, 1959, television entered the science fiction age with Twilight Zone’s debut episode, “Where Is Everybody?” The episode was pure science fiction, featuring an astronaut who returns from a lunar mission only to discover everyone had vanished. For the next five years, Twilight Zone offered a steady stream of speculative delicacies—usually more-or-less straight SF (at least by the standards of the time), although the show sometimes veered into the fantastical and often into the horrific. While there were clunky episodes, particularly as the program ran on, in the later seasons it’s increasingly clear that Serling, tasked with producing half of the scripts, ran out of ideas.

Nevertheless, The Twilight Zone managed to deliver a fairly consistent quality of programming right up to the end. More than that, it provided a high standard of writerliness, of erudite television almost single-handedly belying FCC Chair Nelson Minow’s 1961 observation that television was just a “vast wasteland.”

By the early 1950s, TV had become a widespread medium. Until The Twilight Zone, the visual airwaves were almost bereft of adult science fiction. There was kiddie fare like Space Patrol, and smug extollations of technology like Science Fiction Theater, but nothing really for grown-ups. What took so long?

Two things: Firstly, television had to grow up. When TV broadcasts began, they didn’t diverge much from their theatrical stage origins. Live shows, or ones that felt live, were the norm. Then came anthology shows like Playhouse 90, upon which up-and-comers like Rod Serling cut their teeth. By the end of the ’50s, there were enough mature TV writers to make a go of something like The Twilight Zone.

Secondly, by then, there were also enough science fiction writers for the endeavor, for The Twilight Zone resembles nothing so much as a visual translation of The Magazine of Fantasy and Science Fiction. Started in 1949, F&SF had established itself as the most literate of the SF digests, the most varied in theme and content, the most focused on shorter stories⁠… and the most willing to feature stories by and for women (thus ensuring a more balanced readership).

It is no coincidence that many of The Twilight Zone’s finest episodes were penned by folks whose names often appeared on the F&SF cover: Richard Matheson, Charles Beaumont, Robert Bloch, Jerome Bixby, Lewis Padgett, Henry Slesar, Ray Bradbury.

The impact of Serling’s project, F&SF in living black and white, still echoes today. There have been three revivals and, even today, countless inspirations like Black Mirror and Love, Death, and Robots. Serling’s likeness and the words “submitted for your approval” have become part of our memetic vocabulary.

So, when you go to Seattle Worldcon 2025, revel in the fact that you are largely breathing the same cultural air that con-goers were breathing waaay back at Seacon 1961. There’s a signpost up ahead—you’re still well within The Twilight Zone!

https://seattlein2025.org/2024/11/15/fantastic-fiction-a-signpost-up-ahead/

#RodSerling #TheTwilightZone

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The text Local Flavor against a retrofuturistic design of a rounded triangle shape with an orangey swirl pattern.

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Three Nanaimo bars on a white plate; each is a three-layer treat of coconut crumb base, custard, and chocolate.

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First documented in the early 1950s, the Nanaimo Bar (named after Nanaimo, British Columbia, on Vancouver island) is a three-layer, no-bake dessert. The bar consists of three layers: a coconut crumb base, a custard filling, and chocolate ganache on top. Often found at coffee shops, occasionally available on dessert menus, and a summer potluck staple, Nanaimo bars are a local tradition. For those traveling to B.C. as part of your Seattle vacation, consider driving up to Nanaimo, where maps of a complete circuit of Nanaimo Bar-related attractions are available, including consumption of Nanaimo Bar sundaes, martinis, cheesecake, and even waffles. Best dessert—or best dessert EVER?

By Sheri Terris – Flickr: Nanaimo Bars, mmmmmm, CC BY 2.0, Link

https://seattlein2025.org/2024/11/13/local-flavor-nanaimo-bars/

#NanaimoBars

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First documented in the early 1950s, the Nanaimo Bar (named after Nanaimo, British Columbia, on Vancouver island) is a three-layer, no-bake dessert. The bar consists of three layers: a coconut crumb base, a custard filling, and chocolate ganache on top. Often found at coffee shops, occasionally available on dessert menus, and a summer potluck staple, Nanaimo bars are a local tradition. For those traveling to B.C. as part of your Seattle vacation, consider driving up to Nanaimo, where maps of a complete circuit of Nanaimo Bar-related attractions are available, including consumption of Nanaimo Bar sundaes, martinis, cheesecake, and even waffles. Best dessert—or best dessert EVER?

By Sheri Terris – Flickr: Nanaimo Bars, mmmmmm, CC BY 2.0, Link

https://seattlein2025.org/2024/11/13/local-flavor-nanaimo-bars/

#NanaimoBars

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A dark blue background with light blue asymmetric rectangles like old TV sets scattered across in various sizes. There are tan, white, and gold four-pointed stars, and small robotic orb drones in the pattern as well.

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A dark-skinned person with black hair wearing purple and grey-blue retro-futuristic clothing gestures to the viewer's left. Green-tinted documents float around them.

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Gentlefolk, start your sewing machines!

If you were at Glasgow Worldcon, you might have seen the custom tartan that was designed, registered, and woven just for them. We wanted to capture that same creative spirit, so we now have a Spoonflower shop with a selection of fabrics in our colors and with our logos, motifs, and characters. Check out the Seattle Worldcon 2025 fabric selections! Below is an example of one of the patterns available.

These designs are available on many different fabrics, so you can have them printed on cotton, linen, canvas, stretch jersey, and many others. You can even order premade products in the selected fabric design, in case you must have Seattle Worldcon 2025 curtains, or sheets, or throw blankets!

If you are the creative sort, we would love to see how you can incorporate the designs into something awesome.

Hotel Block Report from Facilities Division

Last month we opened reservations in our hotel block, and rooms are still available at all our hotels, but filling fast. Recent reports from our headquarters hotel, the Sheraton Grand, show 70% of the rooms are full. Please note that there may be shortages of rooms available for shoulder nights outside of the core dates of August 13–17. If your booking attempt shows no rooms available, we suggest that you make a booking for these dates and contact the hotel to expand your reservation to additional nights. The hotel contracts specify that the hotels will offer you the convention rate for three days before and after your reservation within the hotel block. Please expect information on requesting suites for parties soon. The facilities division has positions available—please see the currently available roles section of our website.

Seattle Worldcon Will Feature Classic Science Fiction, but Not Retro Hugo Awards

Seattle Worldcon 2025’s vision of “Building Yesterday’s Future—For Everyone” involves looking back at the great themes of classic science fiction and fantasy to bring the best ideas forward, in an inclusive fashion that marries yesterday’s optimism with 21st century ideals. While we are developing a program track to explore genre history in depth, our Worldcon will not include Retro Hugo Awards.

The Retro Hugo Awards were conceived in the 1990s to retroactively select Hugo Award winners for the years between 1939-1954 in which no Hugos were awarded. To award retro Hugos, a Worldcon must be held 50, 75, or 100 years after the year in which the works would have theoretically been eligible. Retro Hugos have been awarded on eight occasions, most recently in 2020, although as noted by the Internet Science Fiction Database, the practice has become controversial, with the four most recent Worldcons declining to award them. An amendment was adopted at the Glasgow Worldcon to eliminate the practice going forward and passed on to Seattle for ratification. While Seattle Worldcon is also declining to award Retro Hugos, we find looking back at the works that have brought us here incredibly valuable. We look forward to discussion of the legacy of past science fiction and fantasy by our fantastic panelists, and hope you will join in the conversation. New engagement casts these works and their creators in new lights, and allows us to reflect on how science fiction and fantasy can be—and has always been—used as an agent for change.

Fan Table, Art Show, and Dealers’ Room Applications Open Soon!

Our teams are hard at work getting ready to open the art show, dealers’ room, and fan table applications, which should happen by early December. In the meantime, contact exhibits@seattlein2025.org to be added to our advance interest email list so you will hear first. We look forward to hosting an exciting and diverse exhibit hall, one only a Worldcon could put on!

Highlighting the Academic Track!

The Academic Track is a multi-disciplinary academic conference held in conjunction with the annual World Science Fiction Convention. It provides a unique opportunity to engage both a diverse group of scholars, and a large, highly educated, and well-informed public audience. All areas of research related to Science Fiction are welcome, and please do not hesitate to use this opportunity to indulge a flight of academic fancy or propose something outside the box.

For more details, please read the Academic Track information page on our website.

The Academic Track is a multi-disciplinary academic conference held in conjunction with the annual World Science Fiction Convention. It provides a unique opportunity to engage both a diverse group of scholars, and a large, highly educated, and well-informed public audience.

See You at These Events in November!

In November we will have tables at GeekGirlCon and the GeekCraft Expo Holiday Market in Seattle. Come say hello! You may even have the opportunity to preview our fabrics and cross stich patterns. Since we’re doing it, why not spread the good news about the Seattle Worldcon yourself? Memberships make great holiday presents.

There are many open volunteer positions! Come and share your talents!

Volunteer positions are currently available and many more will be opening up as the convention approaches. Be sure to peruse the Volunteer page on the website, and check back frequently if something you want to do is not yet available.

Here are a few of the currently open positions:

Exhibits Layouts Assistant

Assistant Convention Center/Hotel Liaison

Green Room Coordinator

Music Track Lead

Youth Track Lead

Prop Contest Coordinator

Stage / Program AV Support Staff

Head of Program AV

Information Technology Support Staff

If you are unsure what position to apply for, you can fill out the Volunteer Interest Form and add your name to the database by selecting one or several areas of interest.

https://seattlein2025.org/2024/11/12/newsletter-november-2024-gentlefolk-start-your-sewing-machines/

#AcademicTrack #ArtShow #DealersRoom #FanTables #GeekCraftExpo #GeekGirlCon #Hotels #RetroHugoAwards #Sewing #Spoonflower #Volunteering

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Gentlefolk, start your sewing machines!

If you were at Glasgow Worldcon, you might have seen the custom tartan that was designed, registered, and woven just for them. We wanted to capture that same creative spirit, so we now have a Spoonflower shop with a selection of fabrics in our colors and with our logos, motifs, and characters. Check out the Seattle Worldcon 2025 fabric selections! Below is an example of one of the patterns available.

These designs are available on many different fabrics, so you can have them printed on cotton, linen, canvas, stretch jersey, and many others. You can even order premade products in the selected fabric design, in case you must have Seattle Worldcon 2025 curtains, or sheets, or throw blankets!

If you are the creative sort, we would love to see how you can incorporate the designs into something awesome.

Hotel Block Report from Facilities Division

Last month we opened reservations in our hotel block, and rooms are still available at all our hotels, but filling fast. Recent reports from our headquarters hotel, the Sheraton Grand, show 70% of the rooms are full. Please note that there may be shortages of rooms available for shoulder nights outside of the core dates of August 13–17. If your booking attempt shows no rooms available, we suggest that you make a booking for these dates and contact the hotel to expand your reservation to additional nights. The hotel contracts specify that the hotels will offer you the convention rate for three days before and after your reservation within the hotel block. Please expect information on requesting suites for parties soon. The facilities division has positions available—please see the currently available roles section of our website.

Seattle Worldcon Will Feature Classic Science Fiction, but Not Retro Hugo Awards

Seattle Worldcon 2025’s vision of “Building Yesterday’s Future—For Everyone” involves looking back at the great themes of classic science fiction and fantasy to bring the best ideas forward, in an inclusive fashion that marries yesterday’s optimism with 21st century ideals. While we are developing a program track to explore genre history in depth, our Worldcon will not include Retro Hugo Awards.

The Retro Hugo Awards were conceived in the 1990s to retroactively select Hugo Award winners for the years between 1939-1954 in which no Hugos were awarded. To award retro Hugos, a Worldcon must be held 50, 75, or 100 years after the year in which the works would have theoretically been eligible. Retro Hugos have been awarded on eight occasions, most recently in 2020, although as noted by the Internet Science Fiction Database, the practice has become controversial, with the four most recent Worldcons declining to award them. An amendment was adopted at the Glasgow Worldcon to eliminate the practice going forward and passed on to Seattle for ratification. While Seattle Worldcon is also declining to award Retro Hugos, we find looking back at the works that have brought us here incredibly valuable. We look forward to discussion of the legacy of past science fiction and fantasy by our fantastic panelists, and hope you will join in the conversation. New engagement casts these works and their creators in new lights, and allows us to reflect on how science fiction and fantasy can be—and has always been—used as an agent for change.

Fan Table, Art Show, and Dealers’ Room Applications Open Soon!

Our teams are hard at work getting ready to open the art show, dealers’ room, and fan table applications, which should happen by early December. In the meantime, contact exhibits@seattlein2025.org to be added to our advance interest email list so you will hear first. We look forward to hosting an exciting and diverse exhibit hall, one only a Worldcon could put on!

Highlighting the Academic Track!

The Academic Track is a multi-disciplinary academic conference held in conjunction with the annual World Science Fiction Convention. It provides a unique opportunity to engage both a diverse group of scholars, and a large, highly educated, and well-informed public audience. All areas of research related to Science Fiction are welcome, and please do not hesitate to use this opportunity to indulge a flight of academic fancy or propose something outside the box.

For more details, please read the Academic Track information page on our website.

The Academic Track is a multi-disciplinary academic conference held in conjunction with the annual World Science Fiction Convention. It provides a unique opportunity to engage both a diverse group of scholars, and a large, highly educated, and well-informed public audience.

See You at These Events in November!

In November we will have tables at GeekGirlCon and the GeekCraft Expo Holiday Market in Seattle. Come say hello! You may even have the opportunity to preview our fabrics and cross stich patterns. Since we’re doing it, why not spread the good news about the Seattle Worldcon yourself? Memberships make great holiday presents.

There are many open volunteer positions! Come and share your talents!

Volunteer positions are currently available and many more will be opening up as the convention approaches. Be sure to peruse the Volunteer page on the website, and check back frequently if something you want to do is not yet available.

Here are a few of the currently open positions:

Exhibits Layouts Assistant

Assistant Convention Center/Hotel Liaison

Green Room Coordinator

Music Track Lead

Youth Track Lead

Prop Contest Coordinator

Stage / Program AV Support Staff

Head of Program AV

Information Technology Support Staff

If you are unsure what position to apply for, you can fill out the Volunteer Interest Form and add your name to the database by selecting one or several areas of interest.

https://seattlein2025.org/2024/11/12/newsletter-november-2024-gentlefolk-start-your-sewing-machines/

#AcademicTrack #ArtShow #DealersRoom #FanTables #GeekCraftExpo #GeekGirlCon #Hotels #RetroHugoAwards #Sewing #Spoonflower #Volunteering

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The text Dispatches From Yesterday's Tomorrow against a retrofuturistic design of a rounded triangle shape with a blue swirl pattern.

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The text Fantastic Fiction against a retrofuturistic design of a rounded triangle shape with a gold swirl pattern.

# orderedItems[].object.attachment[].name
The cover of Star Science Fiction Stories, with art of an space suited astronaut on a rocky alien landscape, and listing sixteen authors and editor Frederik Pohl.

# orderedItems[].object.attachment[].name
The cover of Stellar 1, with art of a giant numeral one against a red sky with two suns, with a rocketship in front of the one and a pod blasting off in the background, listing nine authors and editor Judy-Lynn del Rey.

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The cover of Starlight 1, with art of a giant moon over a mountainous wooded landscape, listing editor Patrick Nielsen Hayden.

# orderedItems[].object.content
One of the delights of reviewing is following the development of a good idea through many decades. Take, for example, the progeny of Frederik Pohl’s Star Science Fiction anthologies.

The first Star anthology appeared in 1953. Five more volumes, as well as a collection of “short novels,” as they were called then (novellas now), followed, as well as a selection of the best stories, published as Star of Stars [1]. The quality of Pohl’s anthologies is impressive; flipping through my copies reveals classic stories such as Arthur C. Clarke’s “The Nine Billion Names of God,” Jerome Bixby’s “It’s a Good Life,” and Fritz Leiber’s “Space-Time For Springers.” It’s a shame the series is out of print [2].

In 1974, Judy-Lynn del Rey’s Stellar 1 appeared. Stellar 1 was followed by six sequels, as well as a novella anthology, Stellar Short Novels. The parallels with Pohl’s series are no coincidence. As del Rey explains in her introduction to her Stellar Short Novels, she very much had Pohl’s Star Science Fiction in mind when she created her series. Del Rey’s purpose was to prove there was still a market for straightforward adventure fiction [3]. While the result wasn’t quite as noteworthy as Pohl’s, it did foreshadow the manner in which the Del Rey imprint provided reliably entertaining material.

Lately we’ve had Patrick Nielsen Hayden’s Starlight series (1996—2001). The parallels with Star Science Fiction are weaker. There were only two subsequent volumes of Starlight anthologies. However, Nielsen Hayden namechecks Star in his introduction. Furthermore, the quality of the Starlight anthologies is as exemplary as Pohl’s. It is of such quality that one reviewer [4] bizarrely recommended that one not buy the Starlight books themselves because the contents were so good that they would surely appear in various annual Best SF collections. This sort of advice is not how you get more installments, people.

I wouldn’t be surprised to discover Star Science Fiction had more progeny. In fact, I’d be delighted to find out that it did.

1: Known as Star Fourteen in the UK, which might have sent readers off on wild goose chases for Stars Seven through Thirteen.

There was also a one-off Star magazine, released about the time the American News Company was liquidated. ANC distributed about half of the magazines sold in the U.S. before the liquidation, which may be why there was no issue number two. ⤴️

2: Thanks to the huge print runs common when the 1970s editions of the Star Science Fiction anthologies appeared, I still see a copy or two when I peruse used bookstores. ⤴️

3: I’d remembered Stellar 1 as a counter-reaction to the New Wave, but rereading reveals that del Rey was vexed at academics for some reason. ⤴️

4: Not me. ⤴️

https://seattlein2025.org/2024/11/08/fantastic-fiction-star-stellar-starlight/

#FrederikPohl #JudyLynnDelRey #PatrickNielsenHayden #StarScienceFiction #Starlight #Stellar

# orderedItems[].object.contentMap.en
One of the delights of reviewing is following the development of a good idea through many decades. Take, for example, the progeny of Frederik Pohl’s Star Science Fiction anthologies.

The first Star anthology appeared in 1953. Five more volumes, as well as a collection of “short novels,” as they were called then (novellas now), followed, as well as a selection of the best stories, published as Star of Stars [1]. The quality of Pohl’s anthologies is impressive; flipping through my copies reveals classic stories such as Arthur C. Clarke’s “The Nine Billion Names of God,” Jerome Bixby’s “It’s a Good Life,” and Fritz Leiber’s “Space-Time For Springers.” It’s a shame the series is out of print [2].

In 1974, Judy-Lynn del Rey’s Stellar 1 appeared. Stellar 1 was followed by six sequels, as well as a novella anthology, Stellar Short Novels. The parallels with Pohl’s series are no coincidence. As del Rey explains in her introduction to her Stellar Short Novels, she very much had Pohl’s Star Science Fiction in mind when she created her series. Del Rey’s purpose was to prove there was still a market for straightforward adventure fiction [3]. While the result wasn’t quite as noteworthy as Pohl’s, it did foreshadow the manner in which the Del Rey imprint provided reliably entertaining material.

Lately we’ve had Patrick Nielsen Hayden’s Starlight series (1996—2001). The parallels with Star Science Fiction are weaker. There were only two subsequent volumes of Starlight anthologies. However, Nielsen Hayden namechecks Star in his introduction. Furthermore, the quality of the Starlight anthologies is as exemplary as Pohl’s. It is of such quality that one reviewer [4] bizarrely recommended that one not buy the Starlight books themselves because the contents were so good that they would surely appear in various annual Best SF collections. This sort of advice is not how you get more installments, people.

I wouldn’t be surprised to discover Star Science Fiction had more progeny. In fact, I’d be delighted to find out that it did.

1: Known as Star Fourteen in the UK, which might have sent readers off on wild goose chases for Stars Seven through Thirteen.

There was also a one-off Star magazine, released about the time the American News Company was liquidated. ANC distributed about half of the magazines sold in the U.S. before the liquidation, which may be why there was no issue number two. ⤴️

2: Thanks to the huge print runs common when the 1970s editions of the Star Science Fiction anthologies appeared, I still see a copy or two when I peruse used bookstores. ⤴️

3: I’d remembered Stellar 1 as a counter-reaction to the New Wave, but rereading reveals that del Rey was vexed at academics for some reason. ⤴️

4: Not me. ⤴️

https://seattlein2025.org/2024/11/08/fantastic-fiction-star-stellar-starlight/

#FrederikPohl #JudyLynnDelRey #PatrickNielsenHayden #StarScienceFiction #Starlight #Stellar

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The text Fantastic Fiction against a retrofuturistic design of a rounded triangle shape with a gold swirl pattern.

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The text Around Seattle against a retrofuturistic design of a rounded triangle shape with an orangey swirl pattern.

# orderedItems[].object.attachment[].name
The Seattle monorail's blue train, white and silver with blue highlights, emerges on its elevated track from the blue and gold organic curves of the Museum of Pop Culture under a blue summer sky with wispy white clouds.

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The Seattle monorail's blue train passing through the Museum of Pop Culture, a bright blue flat wall to the right reflecting the wavy, organically curved shiny gold overhanging wall to the left, with Seattle skyscrapers visible in the distance.

# orderedItems[].object.content
Take a trip back to the future on the Seattle Monorail. Built to provide riders with a majestic and futuristic entry into the Century 21 Exposition, also known as the 1962 World’s Fair, this railway moves passengers on a speedy track between Seattle Center and downtown. Riding public transit can feel like a chore, but the Seattle Monorail makes it fun with its space-age design and unforgettable views. The elevated track weaves through skyscrapers, providing a unique close-up look at the city’s architecture. The highlight of the route is riding through MoPOP, the Museum of Pop Culture, formerly known as the Experience Music Project and Science Fiction Museum and Hall of Fame, via an iridescent tunnel designed by Frank Gehry. Cosplay shoot location, anyone?

Photo © Megan Ching, Seattle Monorail Services

The Monorail travels between two stations, one at Westlake Center, a downtown shopping mall located a six-minute walk from the convention center where we are hosting the Worldcon, and the other at Seattle Center, the 74-acre home of the Space Needle, Pacific Science Center, Chihuly Garden and Glass museum, and many more rich and picturesque locations that now populate the old Century 21 Exposition fairgrounds. With the Seattle Monorail, one can experience past, present, and future in one harmonious trip.

Photo © Megan Ching, Seattle Monorail Services

https://seattlein2025.org/2024/11/06/around-seattle-seattle-monorail/

#SeattleMonorail

# orderedItems[].object.contentMap.en
Take a trip back to the future on the Seattle Monorail. Built to provide riders with a majestic and futuristic entry into the Century 21 Exposition, also known as the 1962 World’s Fair, this railway moves passengers on a speedy track between Seattle Center and downtown. Riding public transit can feel like a chore, but the Seattle Monorail makes it fun with its space-age design and unforgettable views. The elevated track weaves through skyscrapers, providing a unique close-up look at the city’s architecture. The highlight of the route is riding through MoPOP, the Museum of Pop Culture, formerly known as the Experience Music Project and Science Fiction Museum and Hall of Fame, via an iridescent tunnel designed by Frank Gehry. Cosplay shoot location, anyone?

Photo © Megan Ching, Seattle Monorail Services

The Monorail travels between two stations, one at Westlake Center, a downtown shopping mall located a six-minute walk from the convention center where we are hosting the Worldcon, and the other at Seattle Center, the 74-acre home of the Space Needle, Pacific Science Center, Chihuly Garden and Glass museum, and many more rich and picturesque locations that now populate the old Century 21 Exposition fairgrounds. With the Seattle Monorail, one can experience past, present, and future in one harmonious trip.

Photo © Megan Ching, Seattle Monorail Services

https://seattlein2025.org/2024/11/06/around-seattle-seattle-monorail/

#SeattleMonorail

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The text Around Seattle against a retrofuturistic design of a rounded triangle shape with an orangey swirl pattern.

# orderedItems[].object.attachment[].name
The text Fantastic Fiction against a retrofuturistic design of a rounded triangle shape with a gold swirl pattern.

# orderedItems[].object.attachment[].name
The cover of Fantastic Four #​1, with Invisible Girl held by a giant green mole man emerging from the ground as the Human Torch flies by and The Thing and Mr. Fantastic make plans from the ground.

# orderedItems[].object.content
When Seattle’s first Worldcon was happening at the Hyatt House Hotel in 1961, visitors could visit local newsstands to find their favorite books and comics. If those fans were lucky, they stumbled across a brand-new comic book title for their thin dime: a flashy, weird-looking comic with a giant monster on the cover. That comic was Fantastic Four #​1, and though none of those 300 convention attendees might have imagined it, Fantastic Four #​1 was the beginning of a small revolution.

Though the story of the genesis of the FF has passed into apocryphal legend, the comic series was co-created by one of comics’ most legendary creative teams. Stan Lee wrote a detailed outline of what he planned for the FF, while Jack Kirby created the visual look of the characters and provided his usual thrilling artwork.

In that iconic issue, readers witness the start of a legend: brainy Reed Richards, his girlfriend Sue Storm, Sue’s brother Johnny, and Reed’s pal Ben Grimm steal a rocket ship, fly into space, are bombarded with cosmic rays, and discover that each of them has amazing super-powers when returning to Earth. Though almost immediately attacked by the evil Mole Man, the team triumphs over their enemy and agree to band together as heroes.

The FF wasn’t the first comic from Marvel, nor was the series the first superhero team. DC revived the genre with their reimagining of the Flash as Barry Allen in 1956, and in 1961 the Justice League of America united some of DC’s most iconic characters, including Green Lantern, Superman, Wonder Woman, and Martian Manhunter.

DC’s heroes were self-serious and professional, but the Fantastic Four were decidedly not professional. From their first issue, the Fantastic Four were a rumbling, quarrelsome group, as angry with each other as they were with Dr. Doom or the Sub-Mariner. The conflict within the team gave these outlandish stories a touch of reality that fans responded to zealously.

Marvel continued publishing their romance, monster, and Western comics into 1962, but sales were excellent on FF. Fans demanded for Stan Lee and his collaborators to expand the line of modern-feeling Marvel heroes. Prior to the success of FF, Marvel’s sales were a fraction of DC’s. Fans fell in love with Marvel’s new heroes, and profits surged. Fantastic Four changed everything in American comics.

Thus, supported by FF’s success, Stan Lee was empowered to co-create more heroes who would become iconic with time. By mid-1962, the Hulk, Thor, Spider-Man, and Ant-Man had all premiered in various titles, all through outstanding collaboration with Marvel’s brilliant cartoonists, and the so-called Marvel Age had begun.

Attendees at the 1961 Worldcon might have picked up some classic science fiction works in the hucksters’ room, but perhaps the most important thing a lucky few bought was a goofy little comic that cost a mere 10 cents.

https://seattlein2025.org/2024/11/01/fantastic-fiction-fantastic-four-premieres-and-the-marvel-age-kicks-off/

#1 #FantasticFour #Marvel

# orderedItems[].object.contentMap.en
When Seattle’s first Worldcon was happening at the Hyatt House Hotel in 1961, visitors could visit local newsstands to find their favorite books and comics. If those fans were lucky, they stumbled across a brand-new comic book title for their thin dime: a flashy, weird-looking comic with a giant monster on the cover. That comic was Fantastic Four #​1, and though none of those 300 convention attendees might have imagined it, Fantastic Four #​1 was the beginning of a small revolution.

Though the story of the genesis of the FF has passed into apocryphal legend, the comic series was co-created by one of comics’ most legendary creative teams. Stan Lee wrote a detailed outline of what he planned for the FF, while Jack Kirby created the visual look of the characters and provided his usual thrilling artwork.

In that iconic issue, readers witness the start of a legend: brainy Reed Richards, his girlfriend Sue Storm, Sue’s brother Johnny, and Reed’s pal Ben Grimm steal a rocket ship, fly into space, are bombarded with cosmic rays, and discover that each of them has amazing super-powers when returning to Earth. Though almost immediately attacked by the evil Mole Man, the team triumphs over their enemy and agree to band together as heroes.

The FF wasn’t the first comic from Marvel, nor was the series the first superhero team. DC revived the genre with their reimagining of the Flash as Barry Allen in 1956, and in 1961 the Justice League of America united some of DC’s most iconic characters, including Green Lantern, Superman, Wonder Woman, and Martian Manhunter.

DC’s heroes were self-serious and professional, but the Fantastic Four were decidedly not professional. From their first issue, the Fantastic Four were a rumbling, quarrelsome group, as angry with each other as they were with Dr. Doom or the Sub-Mariner. The conflict within the team gave these outlandish stories a touch of reality that fans responded to zealously.

Marvel continued publishing their romance, monster, and Western comics into 1962, but sales were excellent on FF. Fans demanded for Stan Lee and his collaborators to expand the line of modern-feeling Marvel heroes. Prior to the success of FF, Marvel’s sales were a fraction of DC’s. Fans fell in love with Marvel’s new heroes, and profits surged. Fantastic Four changed everything in American comics.

Thus, supported by FF’s success, Stan Lee was empowered to co-create more heroes who would become iconic with time. By mid-1962, the Hulk, Thor, Spider-Man, and Ant-Man had all premiered in various titles, all through outstanding collaboration with Marvel’s brilliant cartoonists, and the so-called Marvel Age had begun.

Attendees at the 1961 Worldcon might have picked up some classic science fiction works in the hucksters’ room, but perhaps the most important thing a lucky few bought was a goofy little comic that cost a mere 10 cents.

https://seattlein2025.org/2024/11/01/fantastic-fiction-fantastic-four-premieres-and-the-marvel-age-kicks-off/

#1 #FantasticFour #Marvel

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The text Fantastic Fiction against a retrofuturistic design of a rounded triangle shape with a gold swirl pattern.

# orderedItems[].object.attachment[].name
The text Local Flavor against a retrofuturistic design of a rounded triangle shape with an orangey swirl pattern.

# orderedItems[].object.attachment[].name
The outside of Ivar's Fish Bar on the Seattle Waterfront, with people in hoodies and jackets outside on a grey Seattle day. Baskets of red flowers hang underneath the neon Ivar's Fish Bar sign. A second neon sign over another door says Ivar's Acres of Clams.

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Inside Ivar's, menu boards line the wall above an ordering counter with people standing in line. Underneath the counter blue and white tiles spell out "Cooked to order seafood since 1938".

# orderedItems[].object.attachment[].name
Inside Ivar's, a sign mounted near a wooden ceiling above windows says "Clam Central Station", with drawings of smiling clams with eyes on top of their shells.

# orderedItems[].object.content
Photo © J. Morgan.

Ivar’s Acres of Clams has been a local waterfront institution in downtown Seattle since 1938. You have two choices—either book a table inside the restaurant for a nice meal, or do like the locals do and rock up to the fish bar. During the lunch rush at “Clam Central Station,” you shout out your orders for fish with the rest of the crowd. Then while it’s frying, the frontline staff fill orders for drinks and chowder, ring up the total, and send you on your way in record time. The regionally famous clam chowder is also available in local grocery stores. As they say at Ivar’s—Keep Clam.

Photo © J. Morgan.

Photo © J. Morgan.

https://seattlein2025.org/2024/10/30/local-flavor-ivars-clam-chowder/

#ClamChowder #Ivars

# orderedItems[].object.contentMap.en
Photo © J. Morgan.

Ivar’s Acres of Clams has been a local waterfront institution in downtown Seattle since 1938. You have two choices—either book a table inside the restaurant for a nice meal, or do like the locals do and rock up to the fish bar. During the lunch rush at “Clam Central Station,” you shout out your orders for fish with the rest of the crowd. Then while it’s frying, the frontline staff fill orders for drinks and chowder, ring up the total, and send you on your way in record time. The regionally famous clam chowder is also available in local grocery stores. As they say at Ivar’s—Keep Clam.

Photo © J. Morgan.

Photo © J. Morgan.

https://seattlein2025.org/2024/10/30/local-flavor-ivars-clam-chowder/

#ClamChowder #Ivars

# orderedItems[].object.image.name
The text Local Flavor against a retrofuturistic design of a rounded triangle shape with an orangey swirl pattern.