The Fall of the Automatasaurus by David Turnbull
Satisfactory Status by Ken Poyner
About Face by Anthony Howe
The Good Humour Man by Daniel Galef
Birth by Daniel Galef
The Underwear Shop by Rhys Hughes
Paul Spooner's 'Writer's Cramp', photo by Rachel Kendall
Her Hands of Plastic, Her Heart Mechanical by Allen Ashley
The Lawn by Toti O'Brien
Fear of Almanacs by Bill Wolak
Three Haiku by Denny E Marshall
Time of the Assassins by Christopher Mulrooney
Rachel Kendall interviews Nelly Sanchez
Oil Test by B S Eliud Acrewe
An Ancient Life by Jay Frankston
Drawing for Maillardet's Automaton, the Draughtsman Writer by Helen Frank
The Clockwork Book of the Dead by Gary Budgen
The Turk by Mark Young
She Angel #1 by Toti O'Brien
Rover by Mark Carew
The Robot Saves his First Human Porn Show by Ken Poyner
Digital Lives by Ken W Simpson
Bright November by Douglas Thompson
Attachment by Ken Poyner
To Fill Up the Void That Is Left by Daniel Galef
K on Sun by David Cerny
The Secret Life of the Mantelpiece by Clockhouse London Writers
The Honey Trap by Mark Hastings
All Light is Haunted by Bill Wolak
The Conversion Clinic by Rachel Kendall
Idol Tongue by B Drew Collier
Alas Macchinetta 5000 by Diana Magallon


The automaton, it would seem, is an object to be both feared and desired. The mechanised personification of man reflects that which usually remains below the surface - the lure of sexual deviance, the agonising fear of the loss of self. What is worse than having to endlessly repeat a pointless action, able to move but unable to flee? The automaton is the emblem of insignificance within society, of capitalism, prison, the strait jacket... And the only way to reduce the fear is to conquer it. Be the one who turns the handle, who cranks the levers. In proving ourselves the übermensch our desires will cease to deviate for they will become the norm.