Hugo Nomination Recommendations, 1955

Hugo nomination recommendations, 1955 (1954 Stories)

Recently I did a piece on potential Hugo winners from 1957, having noticed that no stories from 1957 won Hugos: the 1958 Hugos went to stories from 1958 -- a result of the rules at that time extending eligibility up until a couple of months before Worldcon, and also that the 1957 Hugos didn't have any fiction awards. 1954 is in a similar state -- the short fiction awards from 1955 went to Walter M. Miller's "The Darfsteller" (Astounding, January 1955) and Eric Frank Russell's "Allamagoosa" (Astounding, May 1955). Mind you, the novel winner, "They'd Rather be Right", by Mark Clifton and Frank Riley, is from 1954 (Astounding, August through November), but it is also widely regarded as the worst Hugo-winning novel in history, so there's no harm looking at potential alternate winners in that category either!

I'll note for the record that the novelette "The Darfsteller" is an excellent story, and a very worthy Hugo winner (though I'd probably choose Damon Knight's "The Earth Quarter" (If, January 1955) instead) and the short story winner, "Allamagoosa", is good fun, though I'd have chosen one of several other candidates. ("Watershed", by James Blish, for example, or "One Ordinary Day, with Peanuts", by Shirley Jackson.) "Allamagoosa", by the way, is the first Hugo winner by a non-American (unless you count the German-born Willy Ley, who won for his science articles in 1953 -- but I'm pretty sure he'd become an American citizen by then.) I note as well that Richard A. Lupoff's excellent anthology What If?, Volume 1, selected "alternate Hugos" for the years 1952 through 1958, and his choice from 1954 was "The Golden Helix", by Theodore Sturgeon.

Incidentally, you might notice that all three fiction winners in the 1955 Hugos are from Astounding. In addition, the Best Editor award went to John W. Campbell, Jr., and the Best Artist went to Frank Kelly Freas, then as throughout his career a regular contributor to Astounding/Analog. Perhaps not surprising -- Astounding certainly retained a position as one of the leading SF magazines. But the story I've heard is that fans of Astounding were somewhat annoyed that Galaxy outdid Astounding in the first Hugos (1953), tying Astounding for Best Magazine, and having the Best Novel winner (The Demolished Man, by Alfred Bester) be a Galaxy serial, plus Excellence in Fact Articles going to Galaxy columnist Willy Ley. Thus, in 1955, they (in how organized a fashion I couldn't say) strongly supported Astounding contributors.

[Note -- I'm revising this to mention a couple more stories that I overlooked! Thanks to Joachim Boaz and Kris Vyas-Myall for the prods!]

Novels

Here's a possible nomination list (though in reality we can assume "They'd Rather Be Right" would have been on the list too.) I would list The Fellowship of the Ring at the top, and then A Mirror for Observers. And honestly, had either A Mirror for Observers or I Am Legend won (assuming The Fellowship of the Ring might not have got the requisite notice as a UK hardcover only), the reputation of the 1954 novel award would be much higher!

The Broken Sword, by Poul Anderson

The Syndic, by C. M. Kornbluth

I Am Legend, by Richard Matheson

A Mirror for Observers, by Edgar Pangborn

The Fellowship of the Ring, by J. R. R. Tolkien

Other possibilities:

Brain Wave, by Poul Anderson

One in Three Hundred, by J. T. McIntosh

Search the Sky, by Frederik Pohl and C. M. Kornbluth

Gladiator-at-Law, by Frederik Pohl and C. M. Kornbluth

Undersea Quest, by Frederik Pohl and Jack Williamson

There were also a couple possibilities from the  so-called "mainstream". Of these three novels, I don't personally consider Lord of the Flies SF (though I can see the argument), and I haven't read the other two.

Lord of the Flies, by William Golding

Messiah, by Gore Vidal

The Magicians, by J. B. Priestley

And of course there were some from the category then called "Juvenile" (now YA or Middle Grade):

The Star Beast, by Robert A. Heinlein

The Horse and His Boy, by C. S. Lewis

The Wonderful Flight to the Mushroom Planet, by Eleanor Cameron

Novellas

I only found six novellas particularly worth mentioning, so I list them all. Of these, my pretty clear-cut choice is "Rule Golden".

"Sucker Bait", by Isaac Asimov (Astounding, February and March)

"Sine of the Magus", by James Gunn (Beyond, May)

"Rule Golden", by Damon Knight (Science Fiction Adventures, May)

"Natural State", by Damon Knight (Galaxy, January)

"No More Stars", by "Charles Satterthwaite" (Frederik Pohl and Lester Del Rey) (Beyond, July)

"The Golden Helix", by Theodore Sturgeon (Thrilling Wonder, Summer)

Novelettes

Now this is interesting! I found 14 (at least) potential nominees among the novelettes. By sheer coincidence, my five favorites are the first five alphabetically. And the first two are clearly not just the best two stories of 1954, but two of the very greatest SF stories of all time. I don't think it's shocking, but it is disappointing, that none of these stories won an award. I'd also like to highlight once again Budrys' "The End of Summer", which is a wonderful and wonderfully strange story, marred just slightly by a slightly disappointing resolution. (Had he landed that, this story would rank with the two Bester stories.) 

Note that Judith Merril's "Dead Center" became the first SF story from a genre publication to be reprinted in the Best American Short Stories series. Indeed, under Martha Foley's editorship (1941-1977) only two SF stories from genre sources were selected, the other being Theodore Sturgeon's "The Man Who Lost the Sea" from 1959. 

"Fondly Fahrenheit", by Alfred Bester (F&SF, August)

"5,271,009", by Alfred Bester (F&SF, March)

"Beep", by James Blish (Galaxy, February)

"The End of Summer", by Algis Budrys (Astounding, November)

"The Golden Man", by Philip K. Dick (If, April)

Other possibilities:

"The Cold Equations", by Tom Godwin (Astounding, August)

"Miss Tarmity's Profession", by Roy Hutchins (Beyond, July)

"Gomez", by C. M. Kornbluth (The Explorers)

"Dead Center", by Judith Merril (F&SF, November)

"Lot's Daughter", by Ward Moore (F&SF, October)

"The Music Master of Babylon", by Edgar Pangborn (Galaxy, November)

"The Midas Plague", by Frederik Pohl (Galaxy, April)

"Dusty Zebra", by Clifford Simak (Galaxy, September)

"How-2", by Clifford Simak (Galaxy, November)

"Down Among the Dead Men", by "William Tenn" (Philip Klass) (Galaxy, June)

"Party of Two Parts", by "William Tenn" (Philip Klass) (Galaxy, August)

"Big Ancestor", by F. L. Wallace (Galaxy, November)

Short Stories

Oddly, I'd didn't find as many short stories that stuck out. For me, either Bradbury's "All Summer in a Day" or Seabright's "Short in the Chest" would have been strong winners.

"The Immortal Game", by Poul Anderson (F&SF, February)

"All Summer in a Day", by Ray Bradbury (F&SF, March)

"The Father-Thing", by Philip K. Dick (F&SF, December)

"Adjustment Team", by Philip K. Dick (Orbit, September-October)

"Daughter", by Philip Jose Farmer (Thrilling Wonder, Winter)

"The Nostalgia Gene", by Roy Hutchins (Galaxy, November)

"Short in the Chest", by "Idris Seabright" (Margaret St. Clair) (Fantastic Universe, July)

"BAXBR/DAXBR", by Evelyn E. Smith (Time to Come)

Review: Od Magic, by Patricia A. McKillip, plus some short story capsules

The wonderful writer Patricia A. McKillip has died, at 74. She was a leap day birth, so back when I was doing "birthday reviews" it was a while before I had a chance to do one for her, and when I did it was a reprint of a review I did of The Bell of Sealey Head.

Sadly, before another of her quadrennial birthdays came up, she died. And in her memory, I have compiled a few other things I wrote about her work. Alas, I didn't really write a great deal about her best work -- a few short reviews of short fiction for Locus, or for my blog, and the shortish piece below about Od Magic, a nice novel but not her best. 

I read The Forgotten Beasts of Eld and the Riddle-Master books in the early '80s with enjoyment, but it was her glorious Winter Rose, from 1996, that turned me into a true fan, and from that point I read each of her nicely sized novels, one every year or two for about 15 years, always with a lovely Kinuko Craft cover, until she slowed down in the past decade or so. But the way things worked out Od Magic (a minor novel) and The Bell of Sealey Head (which I like rather better) are the only two I wrote about. So this is my tribute!

Review of Od Magic

Patricia A. McKillip's latest novel, Od Magic, is not part of a series. But it is one of a consistent set of novels that she puts out, pretty much one per year, tidily sized (about 90,000 words in this case), tidily shaped. In Od Magic there are no bad guys, just temporarily misled people. Which isn't a bad or dishonest thing, really. But in this particular case it does sort of dull the edge of the book.

Od is a legendary female wizard, very long lived but hardly ever seen. Centuries earlier she founded a school of wizardry in Kelior, the capital city of the Kingdom of Numis. Now she appears to a young man in the North named Brenden Vetch, and asks him to go to her school to be the gardener, and to look for the door under the shoe.

I confess I expected a story about Brenden, but this isn't what McKillip was after. Instead she follows a variety of people: Brenden of course, but also the influential wizard of Od's school, Yar; his politically connected lover Ceta; the High Warden's son, another Warden (that is to say, policeman), Arneth Pyt; the King's daughter, Princess Sulys, who is about to be married to a man she doesn't know, a priggish but powerful wizard; and the small-time wizard (small-time? perhaps!) Tyramin and his enigmatic daughter. The story revolves about the King's concern about the potential abilities of Tyramin, who is not under his control, and about Sulys's desire to actually have a chance to know her husband, and moreover her desire to use certain small powers she possesses, and about Yar's concern that his school -- Od's school -- may have become hidebound, too much a tool of the King (even though the King seems for the most part a pretty good King). And also about Brenden Vetch, and his quite remarkable powers, and his connection with certain beings that have long secretly inhabited the kingdom.

It's all a very nice novel, and always readable, and full of characters you like and root for -- but at the same time it seems a bit inconsequential -- or perhaps the term is "easy". In a way I found this refreshing -- the people really are all trying to do their best, they are just often misguided -- and in all honesty that seems truer than the common evil/good divide. But that said there really isn't much tension in the novel -- or much risk. I enjoyed it, and I think most readers will. But it didn't stay with me.

Locus, September 2004

Another Romance genre anthology has appeared with a fantasy/SF theme: To Weave a Web of Magic. As with the earlier Irresistible Forces, an equal mix of SF writers and Romance writers contribute stories. The best in this book is by Patricia McKillip, "The Gorgon in the Cupboard", about a young painter who unwittingly calls forth the spirit of Medusa. Medusa helps the young man, just a bit, as he rediscovers a formal model of his, fallen on very hard times, and as he learns to see her as a woman, not just a painting to be.

Locus, February 2021

Two more stories in The Book of Dragons, I think, are the very best. “Camouflage”, by Patricia A. McKillip, features a Magical Arts student taking his final exam, and ending up mysteriously in a completely different place and time, where he encounters two women, and sees their dragons, who can rarely be seen, because of their magical camouflage. He has a role here too – which may have something to do with his exam. I’m not telling where and when this test occurs, because it’s part of the fun – but the mix here of magic, time travel, war, and dragons is delicious.

[Some people may remember that when I revealed my Best of the Year TOC a couple of weeks ago I mentioned we reserving a place for one more story -- this was "Camouflage". We had queried McKillip about including it, and hadn't received a response -- it is now only too clear why.]

Review of The Fair Folk

Patricia A. McKillip's "The Kelpie" is set in the same milieu as her fine 2004 novella "The Gorgon in the Cupboard": a group of painters resembling the Pre-Raphaelites. Ned Bonham is a moderately successful young painter. He meets Emma Slade at her brother's party. Emma is an aspiring painter just up from the country. The two fall in love on the instant. But Emma attracts the attention of the very successful Bram Wilding, who arranges for her to model for him, in exchange for his support of an exhibition of women's art – and he pressures her for a different sort of relationship. So far this is a straightforward romance plot – no fantasy – but on a visit to Ned's country home she encounters a quite different creature, and this dangerous encounter leads to a resolution of the central triangle.

Review of Firebirds

Patricia McKillip contributes "Byndley", a striking tale of a wizard who unwisely stole something from the Queen of Faerie, and who comes to the title town to try to find his way back to return it.  But Faerie is not so easy to enter -- or to recognize. 

Review of Firebirds Rising

Patricia A. McKillip contributes another of her stories about a group of painters resembling the Pre-Raphaelites. “Jack O’Lantern” is about a girl struggling with her parents’ conventional views of the role of women, particularly upper class women, as her older sister prepares to be married. During the painting of a wedding party portrait she meets a curious local lad, and hears a story about the Jack O’Lantern.

Review of A Book of Wizards

Patricia A. McKillip, with “Knight of the Well”, a nicely romantic tale of a the Minister of Water and a Knight of the Well and a water wizard trying to understand why the spirits of water seem angry. 

Hugo Nomination Recommendations: 1958

Potential Hugo nominations for the 1958 Hugos (stories from 1957)

I made a post on Facebook about possible Hugo nominations for stories published in 1957 -- a year that was not well represented in Hugo history, due to the vagaries of changing Hugo eligibility rules, radically different Hugo categories from year to year, including no fiction Hugos in 1957, and a generally cavalier attitude towards the whole process. That post engendered a lot of productive comments, and I figured I'd make an updated version to preserve it on my blog. Thanks to Andrew Breitenbach, David Merrill, Gary Farber, Piet Nel, and Paul Fraser (among others) for suggestions for further stories, and for productive suggestions for more details about Hugo history.

Wandering through the history of the Hugos in the 1950s -- a chaotic time, with no well established rules, with constantly changing award categories, with a con committee, in one case, refusing to give fiction awards at all ... I realized that no stories from 1957 won a Hugo. (The 1958 Hugo for short story went to "Or All the Seas With Oysters", by Avram Davidson (Galaxy, May 1958) and the Hugo for -- get this -- "Novel or Novelette" went to "The Big Time", by Fritz Leiber, a novel (albeit very short) that was serialized in Galaxy, March and April 1958. In 1957, no Hugos for fiction were given.

I note as well that Richard A. Lupoff's excellent anthology What If?, Volume 1, selected "alternate Hugos" for the years 1952 through 1958, and his choice from 1957 was "The Mile-Long Spaceship", by Kate Wilhelm.

So, what the heck -- here's my list of proposed fiction nominees from 1957. In my first post for this year, before I had decided to extend the posts through the 1950s, I used the categories Novel, Novelette, and Short Story, and I only listed my five story nomination suggestion. I'm revising it so that for each year I am using the contemporary four short fiction categories, and adding mention of other possible nominees. That said, all the stories I listed in "Novelette" were actually novelettes ... though I mentioned "The Last Canticle" as a good candidate that I had passed over because it's part of A Canticle for Leibowitz. 

Novel:

Citizen of the Galaxy, by Robert A. Heinlein

The Black Cloud, by Fred Hoyle

Wasp, by Eric Frank Russell

On the Beach, by Nevil Shute

The Midwich Cuckoos, by John Wyndham

Other possibilities:

Doomsday Morning, by C. L. Moore

Atlas Shrugged, by Ayn Rand

"The Dawning Light", by "Robert Randall" (Robert Silverberg and Randall Garrett)

I would vote for Citizen of the Galaxy among this selection.

Atlas Shrugged, it can be argued, is the most commercially successful, and most famous, SF novel of 1957. Doomsday Morning was C. L. Moore's last novel. The Silverberg/Garrett novel is pretty fun, if slight, the second of two they wrote for Astounding about the planet Nidor.

(By the way, The Naked Sun, by Isaac Asimov, is often cited as a 1957 novel, but its serialization in Astounding ended in December 1956. The same is true of Heinlein's The Door Into Summer, serialized in F&SF.)

Note that four of my suggested novel nominees (all except Heinlein) were born and raised in the UK (Shute moved to Australia in 1950.) Had this nomination list been real (unlikely) and had the Heinlein been replaced by Atlas Shrugged (even more unlikely) all five nominees would have been born and raised outside the US. (Rand immigrated from the Soviet Union at the age of 21.)

Novella:

"Profession", by Isaac Asimov (Astounding, July)

"The Night of Light", by Philip José Farmer (F&SF, June) 

"The Last Canticle", by Walter M. Miller, Jr. (F&SF, February) 

"The Lineman", by Walter M. Miller, Jr. (F&SF, August) 

"Lone Star Planet", by H. Beam Piper and John J. McGuire (Fantastic Universe, March)

Other Possibilities:

"Get Out of my Sky", by James Blish (Astounding, January and February)

"Nuisance Value", by Eric Frank Russell (Astounding, January)

My vote in this category goes to Asimov's "Profession", really a quite strong novella. "The Last Canticle" would be the other possibility. If, as I assume, "The Night of Light" is the first version of Farmer's novel Night of Light -- it's the first version of perhaps Jimi Hendrix' favorite novel. As for "Get Out of my Sky", it's extremely frustrating. The first part is wonderful -- then Blish realized he was trying to sell to Campbell, and ruined it with an idiotic psi-based twist.

Novelette:

"Call Me Joe", by Poul Anderson (Astounding, April)

"The Queer Ones", by Leigh Brackett (Venture, March)

"Wilderness", by Zenna Henderson (F&SF, January)

"The Dying Man" aka "Dio", by Damon Knight (Infinity, September)

"Omnilingual", by H. Beam Piper (Astounding, February)

"It Opens the Sky", by Theodore Sturgeon (Venture, November)

Other possibilities:

"Brake", by Poul Anderson (Astounding, August)

"Ideas Die Hard", by Isaac Asimov (Galaxy, October)

"The Tunesmith", by Lloyd Biggle, Jr. (If, August)

"Nor Iron Bars", by James Blish (Infinity, November) 

"All the Colors of the Rainbow", by Leigh Brackett (Venture, November)

"The Menace from Earth", by Robert A. Heinlein (F&SF, August)

A strong category, I think. My vote goes to "The Queer Ones", a fairly little known Brackett story, but very good. 

Short Story:

"Hunting Machine", by Carol Emshwiller (Science Fiction Stories, May)

"Journeys End", by Poul Anderson (F&SF, February)

"The Men Return", by Jack Vance (Infinity, July)

"The Man Who Traveled in Elephants", by Robert A. Heinlein (Saturn, October)

"Manhole 69", by J. G. Ballard (New Worlds, November)

"Affair with a Green Monkey", by Theodore Sturgeon (Venture, May)

Other possibilities:

"Let's Be Frank", by Brian W. Aldiss (Science Fantasy, June)

"The Long Remembering", by Poul Anderson (F&SF, November)

"Build-Up" aka "The Concentration City", by J. G. Ballard (New Worlds, January)

"Forever Stenn" aka "The Ridge Around the World", by Algis Budrys (Satellite, December)

"The War is Over", by Algis Budrys (Astounding, February)

"Help! I am Dr. Morris Goldpepper", by Avram Davidson (Galaxy, July)

"Featherbed on Chlyntha", by Miriam Allen de Ford (Venture, November) 

"The Lady Was a Tramp", by "Rose Sharon" (Judith Merril) (Venture, March)

"Mark Elf", by Cordwainer Smith (Paul M. A. Linebarger) (Saturn, May)

"Eithne", by "Idris Seabright" (Margaret St. Clair) (F&SF, July)

"Warm Man", by Robert Silverberg (F&SF, May)

"The Ifth of Oofth", by Walter Tevis (Galaxy, April)

"The Mile-Long Spaceship", by Kate Wilhelm (Astounding, April)

"The Men Return", is my choice among these short stories, one of my favorite shorter Vance stories. Of the less familiar stories here, I recommend a look at Walter Tevis' clever "The Ifth of Oofth", and Kate Wilhelm's first significant story, "The Mile-Long Spaceship". I also love, though it's kind of clunky, Algis Budrys' "The War is Over", which just wowed me when I read it as a teen. 

I note, too, that the "Big Three" (Astounding, Galaxy, F&SF) are represented only by a novella, two novelettes and one short story among my "nominees". (And, to be fair, one novel.)

Other notes about 1958: it was the only year of the Hugos in which the winners did not get a rocket ship -- the award this year was a plaque. Also, 1958 was the last year in which there was not a codified process by which a fan vote selected a set of nominees, followed by a general vote for the Hugo. 

Old Bestseller Review: The Chequer Board, by Nevil Shute

Old Bestseller Review: The Chequer Board, by Nevil Shute

by Rich Horton

This book was not a bestseller, but Shute, a fairly popular writer for much of his career, had a major bestseller with On the Beach, 7th bestselling book in the US in 1957, and with his last novel, Trustee from the Toolroom (1960). So I think Shute fits that subcategory.

Nevil Shute Norway was born in England in 1899, His father became head of the Post Office in Ireland (shades of Trollope!), and Shute spent a few years there, and tended the wounded during the Easter Rising in 1916. He served in the First World War in its late months. He graduated from Oxford with an Engineering degree (Mechanical Engineering, we'd say now) and worked on airplanes and airships -- notably leading the development of the R-100, a promising British dirigible project that was scrapped after a test airship from a parallel government project crashed. Shute later formed his own company, which developed the Envoy, a trainer for the UK air force. Aeronautical details show up in several of his novels (including the one at hand) -- most famously No Highway, which concerned the failure of an airplane due to metal fatigue -- which happened just a few years later to the DeHavilland Comet. Shute served in Burma during the Second World War (an experience that strongly influences The Chequer Board.) He moved to Australia in 1950, and died of a stroke in 1960.

His first novel was published in 1926, and he published about 20 novels in his life, with a few more appearing posthumously. He signed his books Nevil Shute in order to separate his writing persona from his engineering persona. The Chequer Board was published in 1947, about when it is set. The UK edition was from Heinemann, the American from William Morrow. Apparently there was some concern about its reception in the US, as it is very critical of the treatment of black people at that time, but it seems to have been very successful. It was a Literary Guild selection. My edition is the 1968 Ballantine paperback. 

I will begin with a caution for sensitive readers. The Chequer Board is overtly and honestly a book taking a stand against racism, dealing with both America's dismal treatment of our black citizens, and England's dismal treatment of its colonies; and with the demeaning attitudes most white people adopted towards blacks and Asians. Its heart is clearly -- and movingly -- in the right place; but it was written by a white British man in the 1940s, and as such it can't claim to truly understand the viewpoints of black Americans and of Burmans. (I use here the name for Myanmar that was then current, and the curious demonym Shute uses -- Burmans instead of Burmese.) In addition, Shute regularly -- very regularly -- uses the N-word -- surely accurately reflecting the way his characters would have spoken (and he does not regard the term as neutral -- he's clear that it is offensive, and that his black characters perceive it as offensive.) I think it would have a been false for him not to do so -- but I have been socially conditioned to find it offputting (and, to be clear, this is normal social conditioning, and a good thing.) Others might mind it even hard to take. The women characters are given agency and come off as real -- but the sexual attitudes of the day are accepted quite straightforwardly by the author -- he is fiercely anti-racist (in 1940s terms) but not feminist at all, seems to me.

The Chequer Board is framed by the report of a medical specialist who is asked to take a look at John Turner, who has been experiencing fits, and having difficulty with his coordination. Turner had been injured in a plane crash during the war (the book is set a year or two after the end of the war) and some shrapnel injured his head -- and some of it could not be removed safely. The doctor's diagnosis is that a piece of metal is causing brain issues for Turner, and that it remains inoperable -- Turner will die in a year or so. 

Turner is a cereal salesman. He and his wife Mollie have no children, and their marriage is troubled. Turner, we quickly learn, is none too moral -- he seems to embezzle from his company in a minor way, keeping that money from Mollie, and in fact he was caught committing a similar crime in the Army -- the plane crash occurred while he was being transported back to England to be court-martialed. He ended up serving six months. Now, facing death, he realizes there are a few things he wants desperately to do in his last year -- primarily, to look up the three men who were in hospital with him after the crash. The hospital is connected with the prison, and two of these men are also awaiting trial: Duggie Brent, a commando, had killed a man in a bar brawl; and Dave Lesurier, a black American soldier, has been accused of attempted rape of a girl in the village of Trenarth, where his unit was stationed. The other man is Philip Morgan, the pilot of the crashed plane -- he'd been kept in the same hospital for convenience. Turner tells Mollie what he knows of these three men, and Mollie -- who is feeling oddly better about her husband, partly sympathy for his plight, and partly because he seems to have opened up to her more than ever -- agrees that he should try to find out what happened to them after they got out of the hospital. 

Turner tracks down Philip Morgan's mother first -- and finds that Morgan served in Burma after getting out of the hospital, and stayed there, abandoning his wife. The mother is bitter -- but Turner knows Morgan's wife was unfaithful, and figures he left for good reason, and is probably living miserably in Burma. And he goes out there, hoping to help him out, and finds something quite different -- an extended, and quite exciting, section shows, essentially, Burma making a man of Philip Morgan -- and Morgan learning to respect and understand the people -- including his eventual wife. Turner learns something too ... and on returning to England finds his relationship with his wife much improved. He learns a bit about Duggie Brent -- a good lawyer got him off the murder charge, and Brent spent some time as a circus act, but the trail runs cold there. And he figures he'll never learn what happened to Dave Lesurier, who is surely back in the US. So Turner and Mollie decide on one last vacation, as Turner's health declines. But the canny Turner maneuvers them to Trenarth, where he figures he can ask the locals about Lesurier's case -- and we learn his whole story too, and about the villagers' relationship with the black soldiers, and how the arrival of a white unit messes things up -- and about the shy Lesurier's interest in a young local girl, which ends up leading to a trumped up rape charge.

All is resolved quite neatly -- maybe a bit too neatly, maybe there's a bit of implausible good fortune in the stories of all three men. But Shute's writing is immensely involving -- he truly had the mysterious skill of making the reader want to keep reading. And the message is inspiring and hopeful, with all the characters treated with respect and sympathy. It's a very involving, very moving novel. It is popular fiction, yes ... there is a bit of contrivance. But it's very good popular fiction. I'll be reading more from Nevil Shute.

Old Bestseller Review: Barchester Towers, by Anthony Trollope

Old Bestseller Review: Barchester Towers, by Anthony Trollope

by Rich Horton

Many decades ago, when I was a teen, I read The Warden, the first of Anthony Trollope's Chronicles of Barsetshire. If I am to be honest, I remember nothing of that novel except that I enjoyed it -- but never went on to read any more. But in recent years it has become clear to me that I have an affinity for Victorian novels, and it certainly seemed that returning to Trollope was something I ought to do (particularly as several friends recommended him.) And not long ago at a charity book sale I bought an ex-lib copy of Barchester Towers, the direct sequel to The Warden, so I decided that would be my next Trollope. (I have always pronounced his name tra-LOPE, but I read a quip from some English writer, can't remember who, about a friend who would greet him in all innocence saying "I was just up in my room with a Trollope", suggesting a different pronunciation.) 

I've given this review an "Old Bestseller Review" heading, reflecting the original focus of my blog. Was Barchester Towers initially a bestseller? As far as I can determine, probably not, but it sold reasonably well, and, with The Warden, essentially established him as a significant writer. I believe many of his subsequent novels sold very well indeed. I also note that this review is quite long -- probably too long. Perhaps I have been influenced by Trollope's own prolixity! (Barchester Towers is long but not terribly so -- perhaps about 200,000 words, maybe a bit less -- but later novels were often very long indeed.)

Anthony Trollope (1815-1882) was the son of a barrister, and more distantly descended from landed gentry, and a baronet. (The baronetcy eventually was inherited by Anthony's son Frederic, presumably after the death of some cousins.) His mother was a successful writer (a profession she turned to in part because of her husband's business failures.) Much of the family, but not Anthony, moved to the US for a time, and later (including Anthony) to Belgium. Anthony was educated at "public schools" (Harrow and Winchester) which he hated. He got a position at the Post Office, which eventually led to travel all around Ireland and later England. He began writing shortly before his marriage (to Rose Heseltine, in 1844.) His early novels included a few set in Ireland, and met with little success. (I have read that sales of these books were in the low hundreds.) But The Warden (1855) achieved good notice, and Trollope eventually became very popular. He published some 40 novels, with two main series, the Barchester books and the Palliser books (and the two series are apparently connected) as well as many standalones, perhaps most notably The Way We Live Now (based in part on his unsuccessful run for Parliament.)

Barchester Towers opens with the death of the Bishop of Barchester, Dr. Grantly. His son, the Archdeacon, is widely expected to be named the next Bishop, but there are political reasons that may not occur: the Whigs are now in power, and the Grantlys are Tories, a secular difference which seems also connected to differences within the Church of England, with the Grantlys being more "high church" (or "bells and smells") and the other side more low church, nearly "evangelical". And, indeed, the new Government selects a Dr. Proudie instead of Dr. Grantly. And Dr. Proudie has a formidable -- and very evangelical -- wife. And his wife insists that a certain Obadiah Slope be chosen as the new chaplain. Slope is, besides his somewhat fanatical low church leanings, a very ambitious man, and quite a schemer.

Also involved is Mr. Harding, formerly the Warden of Hiram Hospital -- he was unfairly forced to resign in The Warden. Mr. Harding has two daughter -- Mrs. Grantly, the Archdeacon's wife, and Mrs. Eleanor Bold, who has recently been widowed, and who has a young son. Mr. Harding has some hopes of being restored to his position at the hospital.

All this is presented not just in personal terms, nor in political terms, but in financial terms. In this book, there is a great deal of attention paid to how much money a clergyman is paid (especially inasmuch as the Church of England has recently reformed its payment practices), and to how much a woman might have inherited (which in practical terms means how much a man will take control of upon marriage.) And the plot of the novel turns not just on the maneuverings surrounding the various potentially open livings for the clergy, but on the presumed possible marriage of Eleanor Bold, who, as a young and beautiful widow with a rather decent portion is eligible indeed. 

To summarize very briefly (I hope) we witness the struggle over the Wardenship of the Hospital -- the main claimants being the former Warden Mr. Harding, and the rather needy Mr. Quiverful, who is worthy enough but whose main claim is his need to support his fourteen children -- and the issues here revolve about Mrs. Proudie and Mr. Slope desiring to have a Sunday School attached to the Hospital, but more significantly Mr. Slope's decision to shift his support to Mr. Harding in the hopes that that will make him a more attractive suitor to Mr. Harding's daughter Eleanor Bold. But beyond that living there is the small church of St. Ewold's, to which the Archdeacon attracts the respected Cambridge scholar Mr. Arabin. And finally the Dean of Barchester dies, and immediately it seems Mr. Slope is the leading candidate to replace him.

On the romantic front, the return to Barchester of the prebendary Dr. Vesey Stanhope from Italy muddles the waters. Dr. Stanhope had been drawing a clerical salary but performing no duties while living in Italy. The new Bishop insists he return (or so does Mr. Slope -- and in this instance Mr. Slope is surely in the right). The Stanhope children include a feckless young man, an artist of no renown, who is a thorough spendthrift, and his older sister begins to scheme to marry him to Eleanor. But Mr. Slope also has designs on her. The late entry in the field is Mr. Arabin, who doesn't have the same financial motives (though Trollope reminds us that no matter Mr. Arabin's concerns, a nice fortune will do him no harm) but who clearly begins to form an attachment. The fly in all this ointment is the other Stanhope, Signora Madeline Neroni, a very beautiful but not terribly moral woman, who made a disastrous marriage to an Italian man, and who lost the use of her legs in an accident. She takes an interest in pretty much any man, in this case including Mr. Slope and Mr. Arabin ...

The climax of these events occurs in great part at a party thrown by an aging and rather out of date brother and sister, the Thornes, ostensibly to welcome Mr. Arabin to his new post at St. Ewold's. This takes up several delicious chapters, and we see the entire spectrum of Barchester society, from a Countess down to laborers -- it's a gentle comic masterpiece, and it forms a well constructed resolution to the questions of the plot. I won't detail how that works out (though Trollope on occasion fairly openly tells his readers what to expect) -- but it's quite satisfying. And, indeed, though some people's specific hopes are dashed, it has to be said that all the characters more or less land on their feet.

I found this novel supremely pleasurable to read. Trollope is a very funny writer (in a very quiet way) for one thing. He is quite acute in his depiction of the social order of his time. He is (mostly quite affectionately) observant of the weakness and folly of his characters -- "good" and "bad"; and he loves to present the careful machinations of all the characters leading to unexpected consequences. The only real villain is Mr. Slope, and even he, though oily and unpleasant, is presented as fairly intelligent, and sometimes in the right. (Well, perhaps Vesey Stanhope is a bit of a villain in a less active way -- at any rate, he is morally profoundly negligent.) The prose is Victorian prose at its fullest -- many contemporary readers lose patience with such prose -- the long sentences, the fairly obtrusive narrator, the overt means of characterization (telling instead of showing.) But I love it -- and if you have the taste for that prose, Trollope is a master. Perhaps one of the elements that is the hardest for present day readers is the complete acceptance of the Victorian English view of women's proper place -- in the home, as nurturers. Trollope's women have a great deal of agency, and also intelligence, but they do accept that their role is to be wives and mothers. (To be sure, a woman like Mrs. Proudie uses her position as the Bishop's wife to wield a great deal of power, most certainly over Dr. Proudie as well as more widely in the diocese.)

Finally -- a note, maybe a question. The novel has very many characters who are clergymen, and they have a dizzying array of titles. Many I know well: Archbishop, Bishop, Vicar, chaplain, curate. Others I recognize but can't quite place in the hierarchy: Archdeacon, Warden, Canon, Dean. Some I really don't know at all, like precentor and prebendary. Does anyone know more detail about this?

And one small additional note -- the previous Victorian novel I read is Vanity Fair, from one decade earlier. It's a very different novel in tone, of course -- but I did detect some parallels between the virtuous (but very foolish) Amelia Sedley and the virtuous (and actually fairly intelligent) Eleanor Bold. (Mostly their perhaps excessive devotion to their less than perfect -- and dead -- husbands, and their deep love for their sons. Also, more trivially, they are both widows who eventually remarry.)

Review: The Kaiju Preservation Society, by John Scalzi

The Kaiju Preservation Society, by John Scalzi

a review by Rich Horton

Here is a novel that wears its time of writing on its sleeve.The Kaiju Preservation Society opens in early 2020, just as the pandemic is staring. Jamie Gray is working for a food delivery service, and sees a great opportunity for his company -- perceiving that the market for delivered meals is about to explode, Jame is eager to present this dea to the CEO -- only to be fired ... 

Let's pull back a bit. John Scalzi needs little introduction -- he's been writing vary enjoyable SF novels for nearly two decades. He's won a Campbell, a Locus, a Dragon, and a couple of Hugos. And somehow he became a lightning rod for the Sad Puppies despite, as far as I can tell, writing EXACTLY the sort of old-fashioned, plot and adventure and cool SF idea-centered stuff they claimed to want! Well, to use an appropriate word, whatever! I like his stuff, and I read it regularly, and so I was happy when our book club chose his brand new novel for our next read. (In this case, I bought the novel through Audible, so I listened to it rather than reading it. The reader, who did a fine job, is Wil Wheaton.)

To continue -- Jamie is humiliatingly forced to accept a gig job workiing for the same company, delivering meals. And in the process Jamie meets a guy from college, a guy who is impressed with Jamie's knowledge of SF (knowledge that almost led to a Ph. D.) And when it becomes clear that Jamie is facing impossible financial pressures due to a) not having his old job; and b) the pandemic; this guy, Tom, offers Jamie a job, for a group called the KPS. A really really well-paying job, but with a catch -- it's in a remote area, out of reach of connection to cell networks, and potentially living a little rough. But, hey, what's the alternative? And the job seems perhaps to have some connection to Jamie's SF knowledge?

Soon Jamie is in Greenland, still wondering what's going on. We can guess, of course, given the title of the novel. And, indeed, KPS stands for Kaiju Preservation Society, and once in Greenland they travel to a secret base, and go through a portal into an alternate Earth. An Earth with conditions that allow for the existence of 100 meter tall monsters. (They are powered by biological nuclear reactors!) Jamie's job is to "lift things" (and the novel has a lot of fun with that.) Everyone else is a Ph. D., including the other newbies, with whom Jamie soon becomes very friendly. 

The first large chunk of the novel is all about explaining what's going on, which is pretty fun -- wildly improbable but clever rationalizations of the Kaiju biology, amusing training sequences, references to a certain famous Kaiju which crossed over to our Earth near Japan thanks to a nuclear explosion (nuclear explosions thin the barrier between worlds ...) There's a lot of camaradie between the various KPS members -- they are a genuninely nice bunch. The eventual plot concerns first an effort to get a pair of Kaiju to breed, and second, a job Jamie is given to shepherd various visitors -- government official, military, scientific higher ups, and, of course, corporate sponsors -- around the base -- it seems that a chance to see real Kaiju is quite the lure. The actual conflict comes fairly late, involving an attempt to bring a Kaiju to our Earth to harvest some genetic material ... which turns out to be a really bad idea.

The novel is very light (though some terrible things happen) and it's very enjoyable. Scalzi's narrative voice is as usual delightful. A lot of it doesn't make a ton of sense, but it really doesn't have to -- the attempts to have it make SF sense are entertaining anyway, and we're not really expected to believe it. An afterword explains the genesis of the novel -- the stress of the pandemic, not to mention a maybe Covid maybe not illness, made it impossible for Scalzi to finish the more serious novel he had planned. He needed relief -- and the idea for this novel came to him, and he finished it in record time (by my lights -- maybe it's normal for Scalzi.) He described it as a "pop song", which seems entirely correct.

I liked it -- it's short and swift and fun. I do have one quibble, and it's a quibble I have about a lot of recent fiction -- the villain is a maximally, cartoonishly, evil corporation. Evil corporations are the lazy default villains these days, and certainly you can find a lot to complain about in corporate actions. But what this corporation gets up to is pretty extreme. And -- the novel takes on the stresses of the pandemic and such nicely enough. But in 2022 we have additional stresses, and a reminder that for real maximal evil a consciousless autocrat of a nation state is a much better candidate than a mere profit hungry corporation. 

[Note -- I've modified my original review, thanks to a hint from John Scalzi's editor, Patrick Nielsen Hayden. I had assumed Jamie Gray was male -- but the novel carefully does not specifiy. Indeed, the other characters are referred to as he, she, and in one case they -- but we never learn Jamie's pronouns. This is, I suspect, easier to do in a first person narrative! It was a bit tricky for me to work around all the "he"s in my original draft without using "they".

I will offer a couple of defenses. The first is simple -- I did not read the novel, I listened to it. And the narrator, Will Wheaton, is male. And for a first person narrative, it's pretty natural to assign the narrator's gender to the first person character. Beyond that I'll suggest that there is one ambiguous marker that the Jamie might be male -- his job is to "lift things", and lifting things implies upper body strength, which is unevenly distributed between males and females. That said, the other person in the novel whose job is to "lift things" is explicitly female. The novel features no romantic subplots, and indeed I spent a tiny amount of time wondering whether or not Jamie is gay or straight -- there is no evidence either way (that I detected.)]

My Black Gate Essay Series

Over the past couple of years I've written several essays -- six for far -- for Black Gate, in each case taking a fairly close look at a story (or a few stories, or a poem) that I either particularly like or find particularly interesting. I'm quite proud of these posts, so I'm putting a link to them here in my blog.

"The Star Pit", by Samuel R. Delany;

Three Stories by Idris Seabright;

"Winter Solstice, Camelot Station", by John M. Ford;

"It Opens the Sky", by Theodore Sturgeon;

"Winter's King", by Ursula K. Le Guin;

"The Last Flight of Dr. Ain", by James Tiptree, Jr.;

I note that above my links just mention the title of the stories under consideration, but Black Gate editor John O'Neill add more interesting titles to the essays, and I particularly liked his title for the most recent one, about Tiptree: Still Not Telling Us. 

Table of Contents: Year's Best Science Fiction and Fantasy, 2021 edition (stories from 2020)

Year's Best Science Fiction and Fantasy, 2021 edition

edited by Rich Horton

(stories from 2020)

My best of the year anthology for 2021 has been much delayed, for reasons mostly linked to the pandemic, including difficulty getting a slot at printers. (And other issues!) But at last I have a TOC nearly ready. We're holding open one slot for one more potential story ... hoping to hear from the author soon. But I figured it was time to post the list. It's been fun going through these stories again, and realizing how good they are, and how worthy of whatever exposure they can get.

This list is in alphabetical order by author.

Nadia Afifi, "The Bahrain Underground Bazaar", (F&SF, 11-12/20)

Rebecca Campbell, "An Important Failure", (Clarkesworld, 8/20)

Leah Cypess, "Stepsister", (F&SF, 5-6/20)

Andy Dudak, "Songs of Activation", (Clarkesworld, 12/20)

Bishop Garrison, "Silver Door Diner", (FIYAH, Autumn/20)

A. T. Greenblatt, "Burn or the Episodic Life of Sam Wells as a Super", (Uncanny, 5-6/20)

Amanda Hollander, "A Feast of Butterflies", (F&SF, 3-3/20)

T. L. Huchu, "Egoli", (Africanfuturism)

John Kessel, "Spirit Level", (F&SF, 7-8/20)

Naomi Kritzer, "Little Free Library", (Tor.com, 4/8/20)

Sarah Langan, "You Have the Prettiest Mask", (LCRW, 8/20)

P. H. Lee, "The Garden Where No One Ever Goes", (Beneath Ceaseless Skies, 12/3/20)

Yoon Ha Lee, "Beyond the Dragon's Gate" (Tor.com, 5/20/20)

Marissa Lingen, "The Past, Like a River in Flood", (Beneath Ceaseless Skies, 8/27/20)

Ken Liu, "50 Things Every AI Working With Humans Should Know", (Uncanny, 11-12/20)

Rati Mehrotra, "Magnificent Maurice or the Flowers of Immortality", (Lightspeed, 11/20)

Annalee Newitz, "The Monogamy Hormone", (Entanglements)

Alec Nevala-Lee, "Retention", (Analog, 7-8/20)

Sarah Pinsker, "Two Truths and a Lie", (Tor.com, 6-17/20)

Vina Jie-Min Prasad, "A Guide for Working Breeds", (Made to Order)

Mercurio D. Rivera, "Beyond the Tattered Veil of Stars", (Asimov’s, 7-8/20)

Benjamin Rosenbaum, "Bereft, I Come to a Nameless World", (Asimov’s, 3-4/20)

Sofia Samatar, "The Moon Fairy", (Conjunctions #74)

Ken Schneyer, "Laws of Impermanence", (Uncanny, 9-10/20)

Alexandra Seidel, "Lovers on a Bridge, (Past Tense)

Michael Swanwick, "The Dragon Slayer", (The Book of Dragons)

Tade Thompson, "Thirty-Three", (Avatars, Inc.)

Ian Tregillis, "When God Sits in Your Lap". (Asimov’s, 9-10/20)

Eugenia Triantafyllou, "Those We Serve", (Interzone, 5-6/20)

Tlotlo Tsamaase,"Behind Our Irises", (Africanfuturism)

James Van Pelt, "Minerva Girls", (Analog, 9-10/20)

Aliya Whiteley, "Fog and Pearls at the King's Cross Junction", (London Centric)

Jessica P. Wick, "An Unkindness", (The Sinister Quartet)

John Wiswell, "Open House on Haunted Hill", (Diabolical Plots, 6/20)

Review: The Exile Waiting, by Vonda N. McIntyre

Review: The Exile Waiting, by Vonda N. McIntyre

a review by Rich Horton

Vonda N. McIntyre was born in 1948 in Louisville, and died, only 70 years old, in 2019. She began publishing in 1970 with "Breaking Point", in Venture (the second iteration of a short-lived (both times) companion to F&SF), and in 1973 published "Of Mist, and Grass, and Sand" in Analog -- which won the Nebula for Best Novelette. It became her second novel, Dreamsnake, and that won both the Nebula and Hugo. She published several more generally well-received novels through 1997, when The Moon and the Sun appeared, and won her another Nebula. But that was her last novel, and she published only about a half-dozen further short stories in the couple of decades before her death. (I reprinted her last story, "Little Sisters", in The Year's Best Science Fiction and Fantasy, 2016 Edition.) I don't know wny she mostly stopped writing (or selling) -- she was a first rate writer. (A good portion of her output was media tie-ins, also, and her Star Trek novels are quite well regarded.)

So, I mentioned her second novel, and some later ones, but what of her first novel? This was The Exile Waiting, from 1975. Its first appearance was actually the Science Fiction Book Club edition. I bought the paperback when it appeared -- my notes in the book say I got it from Waldenbooks in Fox Valley Mall (a couple of miles from my house) in April 1976. I read it and liked it a good deal. And so I was happy to be pressed to reread it when we chose it for the book club that Mark Tiedemann runs ...

And, you know, it holds up. On rereading I felt it very clearly a first novel, with some of the problems of many first novels, but lots of the exuberance too. Like many first novels there is a sense that the author threw in a few too many ideas, and that the structure (perhaps especially at the beginning) is a bit loose ... but in the end it's very enjoyable and quite moving.

The book is set on earth (uncapitalized, oddly, though it is clearly meant to be our Earth) a long time in the future, after a nuclear war. As such, it's a post-Holocaust novel -- Mark Tiedemann pointed out that this was rather late for the at one time extremely common trope of setting a story in the distant aftermath of a nuclear war. Mischa is an adolescent girl (probably about 14 ... but her age doesn't come through very well) living in a place called Center, almost a hive for the people living in the otherwise blasted wasteland. She is a thief, as was her now drug-addicted and dying older brother Chris. She also has a power, as with the others in her family -- sort of an empathic/near telepathic ability to sense others' minds. This is a decidedly mixed blessing, especially as her much less mentally functional younger sister Gemmi has such a strong ability that she can compel Mischa to come to her -- which she does when their abusive uncle forces her -- mainly to get money. Mischa's dream is to escape to the "Sphere" -- that is, the relatively near star systems that humans have colonized; and to bring Chris with her in hope of a cure for his addiction (presumably, he started using the drugs to ecape Gemmi's pull.) And it becomes clear to her that her only shot is to find a way to get to the Palace, and to convince the aristocrats there to give her a job on a spaceship.

There are two other central characters. Jan Hiraku is a young man who has promised to bring his blind old friend back to earth for burial, and he has gotten passage on a starship. The starship is crewed by what seem a group of raiders, led by two curiously linked men who call themselves Subone and Subtwo. They were raised together as part of an experiment intended to make them mentally linked, and having escaped that situation they are beginning to establish independent personalities. (Their backstory is detailed in McIntyre's short story from the Delany/Hacker anthology Quark/4, "Cages", which I understand is included in the recent rerelease of The Exile Waiting (from Handheld Press in 2019).)

So -- Jan, unconnected with the raiders, serves as sort of an outside observer/narrator, though eventually he becomes a friend and mentor to Mischa. Mischa's attempt to infiltrate the Palace fails and she is whipped for it. But more or less simultaneously, the raiders' ship lands nearby, in storm season when no ships come -- the combined abilities of Subone and Subtwo make this possible. They arrive at the Palace, evidently intending to take over -- but are suborned, more or less, by the decadence and indifference of the ruling group. Meanwhile Subtwo is trying to separate from the more brutish and immoral Subone, so while Subone appears to enjoy being assimilated into the decadent life of the Place, Subtwo is disgusted by the slave culture revealed to him. He falls for Madame, the slave who serves as housekeeper to the ruler, and tries to arrange her freedom, while planning to leave with his ship as soon as possible. Jan and he rescue Mischa, and somewhat fortuitously begin to train her, and discover that she is a mathematical genius. (This is a bit of tired cliche, one of the "first novel" faults.) Plans for Jan, Subtwo, Madame, Mischa, and Chris to escape back to the Sphere seem well on the way, until Mischa's unseverable connections to her family intervene -- and Subone's cruel reaction to the presence of Chris in their quarters drives a crisis.

Jan and Mischa are forced to escape underground after attacking Subone in trying to rescue Chris. They encounter a group of mutated humans, cast out because of the old tradition of post nuclear societies trying to control mutations. Meanwhile Subone and Subtwo are chasing them -- Subone compelling his "pseudosib" to help get revenge on Mischa for attacking him. Mischa -- again quite coincidentally -- meets one of her highly mutated brothers ... Well, the natural result ensues -- with the mutants' help they escape back to Central, and in the process foment a rebellion that should lead to better treatment for the mutants, and also freedom for the slaves. And Subtwo finally manages to escape Subone's influence and their escape to the Sphere becomes a reality.

Told as baldly as I've stated it this final development seems a contrived and only too familiar (and too easy) resolution -- and it is, I suupose, except McIntyre's writing is very effective, and it's exciting, and quite moving. It's really a case of a first novelist's talent winning over her inexperience, I think. I liked the characters, and I wanted them to win. I'd actually have liked to see more stories in that future -- in the Sphere, mainly, and perhaps following Mischa's life. Apparently Dreamsnake is set on the same future ruined earth -- but we don't really see the Sphere in that book. (It's not clear to me whether the action of Dreamsnake is set prior to The Exile Waiting, after it, or at a roughly parallel time but different place on earth.) 

It is nice, I think, to return to a novel you remember enjoying 45+ years ago, and to find that it pretty much holds up! That doesn't always happen, but it did in this case.

Review: Murder in Millennium VI, by Curme Gray

Review: Murder in Millennium VI, by Curme Gray

a review by Rich Horton

This novel, published in 1951 by the important early SF book publisher Shasta, very quickly established a reputation as a nearly incomprehensible novel -- incomprehensible because it explains almost nothing about its future -- the intent is to be read as a comtemporary work,set in "Millennium VI", and as such not to describe thimgs that would be common knowledge to its supposed readership. Over the decades it's become sort of a talisman -- "Read this and marvel at how inpenetrable it is!" As such I've known for years that eventually I'd try to read it, and the time finally came. Short version -- it's at times difficult, a bit dizzying, but the basics are really pretty readily worked out. It's a decidedly interesting experiment, and with additional editorial input, it could have been something really special. It falls short, alas, but I still think it's worth reading.

The book has only been reprinted once, in 1952, as part of an omnibus edition offered by the Unicorn Mystery Book Club. The other books in that omnibus were When Dorinda Dances, by Brett Halliday (best known for the Mike Shayne mysteries); The Far Cry, by Fredric Brown; and The Virgin Huntress, by Elisabeth Sanxay Holding. I think it's fair to say -- even wholly ignorant, as I am, of the Halliday novel -- that that is a pretty damn impressive omnibus, even only considering the Brown and Holding novels. 

Curme Gray himself was for a long time -- still is, to some extent -- a mysterious figure. But in recent years some details have been tracked down, even a picture. (The picture attached was found by Paul di Filippo from a Battle Creek, MI, newspaper, accompanying an advertisement for a book signing -- evidently at the time this book was published Gray lived in Battle Creek.)  He was born in Indiana in 1910. His father or grandfather appears to have been in the shoe businees. By 1940 he was living in Cicero*, IL, a suburb of Chicago, and had a wife named Madeline. By the 1960s he seems to have been in Denver, and involved in local theater. But his interest in theater goes much farther back: there are apparently at least two plays copywrighted in his name. from around 1940, when he was in Illinois. He died in 1980. 

(*My high school wrestling coach was from Cicero. At a guess he was not too much younger than Gray -- maybe he knew him?)

So what's up with this book? It opens with the scene of a woman, having just awakened, heading to meet her mother, but colliding with her much smaller father (Alec), and rebuking him. The mother, Wilmot, and the daughter, Hilda, converse briefly, first by voice, then by "telement", about their coming trip to see the Matriarch, and Hilda's desire for a newly created position as the Matriarch's secretary, and her anger that her twin brother Victor will also meet the Matriarch and apply for the new position -- even though males are ineligible. The narrative switches to first person -- Victor has been monitoring their conversation, by both "telepathy" and "clairvoyance". Victor and Alec speak, and we learn that Alec owns three "records" from Ancient History. It seems Alec is fascinated by that time period, and even has learned to read the records, which are described strangely -- but in a way so that we recognize them as printed books. No one (except Victor and Alec) seems to read -- everything transmitted via telement is preserved in Archival Telement, or AT. Alec's three books are called Palmer's Method, Hobbies, and Crime, a History. Victor, using what he learned from Palmer's Method, is making his own record, by cutting up pieces of cloth and marking them. In this diary he preserves things he learns, and thinks, that will not be part of AT -- including his somewhat clandestine love affair with a woman named Barbara Porter. (Romantic love, we learn -- like death -- is a forgotten thing in this future.)

I've gone into greater detail than I normally would partly because the strangeness of the future needs more description than in many books. As we read further -- though much of this on a second reading is already indicated in the first chapter -- we learn that this is set 6000 years or so from now. The world is ruled by a Matriarchy. There is only one race (apparently descended from Asians though it could be just a future mix.) Women are significantly larger than men. Neither sex has secondary sexual characteristics -- indeed, both are bald. These characteristics seem to be maintained partly by selective breeding. Most communication is by telepathy -- something like personal radio. Clairvoyance seems to be a way of seeing what is happening elsewhere. (We learn later of private sorts of telepathy, and of a special form of telement called communion, in which perhaps thoughts are directly shared.) There is no crime, and no death. There are a few different varieties of women -- notably Menics (menial workers) and Clerics, of higher rank. Men, who do not work, seem either to be essentially house-husbands, or to reside forever in the "Stud". The extended lifespans also mean that maturity is not attained until the age of nearly one hundred.

The meeting with the Matriarch is complicated, because Barbara Porter is there as well, and it becomes clear that everyone with an audience with the Matriarch is applying for the same newly created position of secretary. The job should be Hilda's, because Victor is a male, and Barbara is of lower status (as Wilmot is the second most powerful woman in the Matriarchy.) Indeed, we now learn, Barbara is a highly unusual woman -- she has breasts, and is smaller than most women. (She even uses lipstick, it seems!) But to Victor's dismay, Barbara has rejected him for another male. And, indeed, Barbara and Victor's association was highly irregular -- females are supposed to choose males at the Stud. (It is never made terribly clear exactly what goes on at the the Stud.) 

Much of this becomes somewhat irrelevant when, just as the audience with the Matriarch is supposed to commence, it is clear that she is acting very oddly. Indeed, Alec and Victor rush forward -- she seems to be asleep! But, no -- she is not asleep, she is dead. And that is impossible, for no one dies! (This is one reason Barbara and Hilda, who are one hundred years old, have not found a position.) After much divagation, it is determined that the Matriarch has been murdered -- but by whom? It seems to be a locked room mystery.

The main action of the novel concerns the untangling of the mystery, of course. Alec is the first suspect, and he is soon found dead -- by suicide? Is this a confession? The question of motive arises -- but there are many plausble motives. Alec wanted, we learn, to restore the historical Patriarchy. Hilda wanted the secretary job that she felt was hers by right. Wilmot had long coveted the (elective) position of Matriarch. Barbara Porter's Aunt Gertrude resents the power held by both the Matriarch and Wilmot. Victor is suspect because he's Alec's son, and because of his irregularities. The question of method revolves around scissors -- and we know that Victor has a pair. But so, it appears, did Hilda. And perhaps the scissors are just a blind alley -- there are other means of murder. Other mysteries arise -- for death is not really wholly abolished, but people tend to forget it. It turns out that a past disaster (a plane crash) wiped out everyone in Alec's family. But no one (besides Alec) remembers this.

The solution (solutions?) to the murder mystery come in a dizzying sequence, with every one of the main characters at one time identified as the murderer. The final resolution is kind of neat (turning on an aspect of future technology) -- and yet, to my mind, it remains a bit ambiguous. (In a good way, I'd say.) The other outward plot element is the romance (?) between Victor and Barbara -- Barbara seems to run hot and cold, and Victor -- he's determined to marry Barbara, but hardly -- chivalrous? All in all, the sexual poltics of this book are decidedly retro -- arguably that's part of the theme, to be sure. But it can be hard to take.

In a way, though, these aspects aren't what's most interesting about Murder in Millennium VI. Decoding the true nature of this future is what involves the reader (in 1951 as much as in 2022, I think.) The social and sexual organization is central -- looked at naively it seems to be about a cyclical change from Patriarchy to Matriarchy and back again to Patriarchy -- but I think perhaps the resolution suggests an evolution to a more equitable arrangement. (This is not much addressed, though.) Another question revolves around death -- how has it been (mostly) eliminated in Millennium VI, and is its (potential) restoration a good thing? There are a host of technical issues that are described but never discussed -- people seem almost never to be outside, for example; or, what really goes on in the Stud? or how does the transportation work? or what are the homes really like? with the strange lighting? etc. etc.

The overall affect is effectively weird, if not quite convincing. The novel works in that sense. But as I hinted at the top, some of the confusion may be due more to ineffective writing -- and I think some hard editorial work might have resolved some of that. And to be honest the overall theme, especially the Matriarchy vs. Patriarchy aspect, and the general depiction of gender relations, is retro in a bad way, even rather unpleasant. This future doesn't seem a future we're headed to, and the questions the book poses about this future aren't really sensible, in the end. But for all that, I'm glad I read it It's an intriguing and quite different imaginative product. And it's not all that long! So -- worth a read if you can find a copy, and a reprint might be worthwhile (perhaps attached to some critical analysis.)

Two Treasures from Boskone (or just after)

Two Treasures from Boskone (or just after)

by Rich Horton

One of the joys of being in a community like the SF community is the opportunity to receive special, indeed unique, gifts from fellow members of said community. Recently at the Boston convention Boskone I attended a Kaffeklatsch hosted by Michael Swanwick. Michael's conversation was reward enough, but he also gave each of us a lovely tiny book created by his wife, Marianne Porter. This book, written and made for Valentine's Day, is called Fantasia Romantica. It includes several short-shorts on the subject of romance written by Michael, and it is itself a lovely physical object. At Boskone I also met, for the first time in person, Gregory Feeley (long an online friend.) We shared a couple of panels, and had a couple of nice conversations (and food and drink.) Shortly after the convention was over, Greg sent me a chapbook, another lovely object, privately printed, called Th'Erratic Stars: an excerpt from a novel he's worked on for years, called Hamlet the Magician. 

Th'Erratic Stars is a truly beautiful story about a European prince, now enslaved, first on a galley in the Mediterranean, then in Cairo, and by the end heading to Aleppo. The title of the novel means it comes as no surprise when we learn that this prince is from Denmark, where his uncle is King and his mother Queen. (This excerpt's title comes from Chaucer, however -- from a Chaucer work on a subject Shakespeare also wrote of.) It's an alternate Denmark, to be sure, from that of Shakespeare's play -- for one thing, Hamlet has left behind a wife (presumably Ophelia), and he has been exiled and, now, enslaved. The first section, "The Caitiff", begins, as I said, at sea, on a galley. The Prince is of course an oarsmen, subject to the ill use and illness often experienced by those, and his surviving one serious bout gives him a reputation as a witch -- only exacerbated when the ship encounters a storm and the Prince survives ... well, of course, he is a witch. They proceed to Egypt, where he is sold. Fearing castration, he instead lands at the house of a man with a library, and begins to help the librarian catalog that collection. The second section, "The Scholar", involves his work at this man's library, and especially his time with the librarian's daughter, who is also a scholar. The Prince is all along gaining knowledge -- of Arabic, for one, and learning to understand the Islamic attitude about magia, and, slowly, becoming entranced by Zaynab, the librarian's daughter. But this of course cannot be -- for one thing, he is a Christian, for another, she is not in control of her fate, nor is she of all that high status. And by the third section, "The Magus", everything is altered -- Zaynab's father's master is dead, she herself has undergone wrenching personal changes -- and the Prince is once again sold, and sent to Aleppo -- which at least is closer to Persia, where he might hope to learn more about true magic.

This is most definitely a novel excerpt, and not in itself a complete story. But it intrigues throughout. Hamlet is a compelling character, and there is a mystery in his past -- to say nothing of the questions about his future -- that urges discovery. The Zaynab section is one of the most well done sublimated romances I have read. The prose throughout is -- I shy from this cliche but it is true -- exquisite: balanced, intelligent, beautiful when it needs it, free itself of cliche. The historical milieu is convincing and fascinating. It is an great introduction to a novel I desperately hope to read.

Michael Swanwick's Fantasia Romantica is sort of the opposite, in comprising several quite complete, but very short, stories. The stories are all about love (and sex), and are all titled for women. Most of the women are fictional characters: Titania (from "A Midsummer Night's Dream"), Prunella Chanticleer (from Lud-in-the-Mist), Campaspe (a probably apocryphal mistress of Alexander the Great), Rosie (from The Lord of the Rings), Susan (from the Chronicles of Narnia), and ... Caitlin (who becomes involved with Archimago (from The Faerie Queene)). Each story is clever, arch, sweet if need be, slightly cynical if need be, sexy -- and fun. They are short-shorts, and I don't want to describe them further, but they are very enjoyable. And the slim book itself is a lovely object, with the nice cover depicted here, and excellent paper ... something I'm thrilled to have.

Old Bestseller Review: Vanity Fair, by William Makepeace Thackeray

Review: Vanity Fair, by William Makepeace Thackeray

a review by Rich Horton

I had read a couple other things by William Makepeace Thackeray, but never yet his most famous novel, Vanity Fair. (I've called this an Old Bestseller Review, a nod to this blog's original purpose -- not because I have bestseller lists dating to the 1840s but because Vanity Fair was definitely a sensation on its appearance.) I absolutely love Thackeray's great historical novel, Henry Esmond, which I review here:

Review of Henry Esmond.

Along the way I had bought a couple of used editions of Vanity Fair, with the idea that I'd surely read it someday. But a couple of years ago I found a quite lovely boxed edition, from Random House in 1958, with illustrations by Robert Ball. I snapped it up cheap at the used bookstore where I saw it, which was, alas, going out of business. And, a bit later, I started reading it -- but then set it aside, for reasons to do partly with deadlines, and perhaps also partly the pandemic. Upon my retirement from my Locus column, some reading time opened up, and I decided to return to Vanity Fair. I read it over the next few weeks much, I suppose, as its original readers did -- a chapter or two at a time. (The novel was serialized in 19 monthly parts in 1847 and 1848. The book version appeared in 1848.)

This is one of those cases where my review is more or less superfluous -- Vanity Fair is one of the all time classic English novels. Numerous trees have given their lives for pieces about the book, professors have told their students what to think for a century and a half, and I'm sure many more illustrious book bloggers than me have weighed in. So take my brief look for what it's worth. I will say to begin with that this is an immensely entertaining book -- but that I still rank it behind Henry Esmond. Perhaps some of this is down to the accurate subtitle -- A Novel Without a Hero. In Henry Esmond there is no doubt that Henry -- for all his faults -- is the hero of his narrative (if, perhaps, partly because it is framed as his narrative.) Vanity Fair is framed quite differently -- the author (a fairly direct avatar of Thackeray) conceives of himself as a puppeteer, manipulating his characters through their decades long adventures. And the main character, Becky Sharp, for all that she is one of the best known characters in Victorian literature, is not only not a hero, but is absent from the book for chapters at a time. The two most virtuous characters, Becky's friend Amelia Sedley, and William Dobbin, a friend of Amelia's husband George Osborne, doomed to a hopeless love for Amelia (who foolishly dotes on the worthless George); are presented as basically good but in different ways rather foolish.

The action of the story extends from about 1814 to the early '30s. Becky Sharp is the pennyless orphaned daughter of a rackety couple -- an art dealer and a French dancer -- who has managed to get an education by teaching French at a school for young women of society, and who there befriends Amelia Sedley, the daughter of a wealthy man of business. The story follows, essentially, the love lives of the two women (using the term "love" perhaps unwisely!) Becky is from the beginning an amoral schemer, and, beginning with Amelia's brother Jos, she sets her cap at a variety of men -- failing to get Jos to propose she pivots to an elderly baronet, Sir Pitt Crawley, then to Sir Pitt's younger son Rawdon. Once married to Rawdon, who ends up penniless because of his family's objection to the marriage, she attracts a lot of sexual attention from society men, especially the rather vile Marquis of Steyne -- always with the object of getting her hands on money. Amelia, on the other hand, falls for the handsome but irresponsible and rather stupid George Osborne, son of one of her father's business partners; even while George's friend, the sometimes socially awkward (and not so handsome) Captain William Dobbin is pathetically devoted to her. Amelia's fiscal life is also fraught, partly because the elder Osborne disinherits his son after Amelia's father loses his fortune because of some unlucky investments. And when Amelia's husband dies at Waterloo, she is reduced to living in poverty with her parents, and forced to give up her beloved son to the Osborne family. Becky also has a son by Rawdon Crawley, but she has no interest in motherhood, and Rawdon Jr. also ends up with his relatives (despite his father's sincere love for his son.)

The novel follows the fortunes of the two women and their families, with Amelia selflessly (but often foolishly) serving her mother and father in their sad state, and mooning over her dead husband, never realizing how he betrayed her (for the most notorious example, by having a brief affair with Becky Sharp and urging her to run away with him just before the battle that took his life.) It is only Captain Dobbin's often secret interventions that keep Amelia barely above water financially, and that allow her boy to go to school -- but she never deigns to take notice of poor William except as a friend. Meanwhile Becky's adventures seem to prosper for a while -- with Lord Steyne's sponsorship, she becomes a fashionable if somewhat scandalous hostess, and she squirrels away some money even as her husband's debts mount. (There is a delighful chapter called "How to Live Well on Nothing a Year".) But Becky overplays her hand, and ends up separated from her husband and wandering Europe. The novel's concluding chapters resolve things by reuniting all the main characters to one degree or another, each getting a fairly appropriate fate.

As must be obvious, the aim of the book is satire. And it delivers in spades. The novel is stuffed with amusing and mildly grotesque characters -- pretty much the entire Crawley family, most obviously, and to a lesser degree the Osbornes and their associates, not to mention Captain Dobbin's military company. The plot is quite intricate, if a bit loose-limbed (an inevitable consequence, I think, of both the length of time covered, and of the serial method of publication (and presumably composition.) While the misadventures of the amoral Becky Sharp seem the moral center of the book, in reality no aspect of British society escapes criticism. It is possible to have some sympathy for Becky's life circumstances -- she does seem to be treated unfairly because of her birth -- she squanders all that sympathy by her financial dishonesty, her apparently loveless sex life (though the book is far more circumspect about her actual sex life than the same book would be if written today), and most of all by her treatment of her child. And even Amelia, a much sweeter and more virtuous person, is portrayed as downright stupid, and terribly obtuse and unfair in her relationship with the only too faithful William. 

The book is what its reputation says -- one of the great Victorian novels. It is archly funny, biting, and absorbing. I still wasn't transported in quite the way I was with Henry Esmond, but I'm not sure that was the aim of this novel. I'll get to another Thackeray novel some time in the future -- maybe Pendennis? -- but first I need to sample some other Victorians -- Trollope, Mrs. Gaskell, Collins, another Brontë novel besides Wuthering Heights and Jane Eyre ... who should it be?

Old Magazine Review: Star Science Fiction, January 1958

Star Science Fiction, January 1958

a review by Rich Horton

I wrote this piece way back in May of 2003, but as this issue -- the only issue -- of Star Science Fiction recently came up in conversation, and also I recently acquired Chandler Davis' collection It Walks in Beauty, the title story of which appeared first in this magazine, I thought I'd reprint it now.

As I'm sure I've made clear in these pages, I collect old SF magazines. Sometimes I buy them for just one story -- for example I've been looking for the uncollected stories of Poul Anderson lately. But usually I end up reading several of the stories in any given magazine -- all the really short ones, and any longer ones that look even remotely interesting. I've read a number of decent stories that way, and I've gained a pretty good (I think) feel for the general zeitgeist of 50s SF, and for the nature of the various magazines of that time. But, probably not surprisingly, I rarely if ever come across stories that could be called neglected classics. Pretty much, any story from the 50s that was particularly good got noticed and anthologized.* (Certainly the uncollected Anderson stories are generally uncollected for understandable reasons -- though I think those stories in general good enough that a retrospective collection would be a worthy project.)

(*That said, from the perspective of 20 years or so later, I think I have come across enough unanthologized or barely anthologized '50s stories that deserve to be better remembered that I could assemble a fine small anthology.)

Pretty much all the good stories were anthologized. But I think I may have found one counterexample. I bought a copy of the January 1958 issue of Star Science Fiction. This magazine, which lasted only one issue, was edited by Frederik Pohl, and it was an attempt to turn his successful original anthology series into a magazine. I had never heard of it until I read a Bud Webster article about the Star anthologies in, as I recall, NYRSF, a few months ago. Well, one of Poul Anderson's stories that has never appeared in a book is "The Apprentice Wobbler", which appeared in this issue of Star. So I found a copy and bought it.

But, alas, the Anderson story isn't the neglected classic. In fact, it's a very minor story that reads like a Randall Garrett made-to-order-for-Campbell story, about psi. A corporation sends an engineer to investigate the small company that has been producing machines that allow people to levitate and move objects and create energy, with the intention of discrediting them. In pure Campbell manner, the guy discovers that psi is a real power, but you can't use it if you have even a shred of disbelief, so the machine is just a placebo to make you think the power is coming from elsewhere blah blah blah. Competent, to be sure, it being Anderson, but not very good. I wonder why he didn't sell it to Campbell? Or maybe Campbell bounced it.

But there are several other stories in Star. Indeed the magazine is quite good. I'm not sure why it didn't survive -- I suspect Ballantine, the publisher, may not have been well tied into the magazine distribution system. Also, 1958 wasn't a very good time to start a magazine -- around that time is when the SF field went through one of its crashes, in great part due to the collapse of a major magazine distributor. (Curiously, I have also seen people blame Sputnik!) Finally, though the magazine was high quality, it was very thin, only 128 not very tightly packed pages, for 35 cents, a high end price in those days. Perhaps buyers felt they weren't getting full value in terms of word count. Physically, I liked the look OK -- a beautiful yellowish Richard Powers cover, and interior illustrations all by Powers, but I don't know how widely Powers' abstract style appealed, especially for interiors.

Another notable story this issue is "Judas Dancing" (better known, I believe, as "Judas Danced"), by Brian Aldiss. It's a time viewer story, plus a time travel story, about a multiple murderer who is repeatedly resurrected (via time travel) along with his victim. It reminded me a bit of Damon Knight's "The Country of the Kind". 

There is also an Algis Budrys story, "Mark X", under his pseudonym "John A. Sentry". I'm puzzled as to why he published the story under a pseudonym, because it deals with an idea he used in several Astounding stories -- a quasi-intelligent device called an AID which is implanted in people's brains. In the Astounding stories it's used in a war against aliens called Eglins (after the Air Force base in Florida?) -- it prevents prisoners from revealing information under interrogation, and it implants a compulsion to get crucial information back to humanity. The best of those stories, and a favorite of mine when I was much younger, is "The War is Over", a really cool (if perhaps crudely told) piece about the efforts of an AID over many generations to deliver the title message. "Mark X" may or may not be in the same continuity -- it does mention the Eglins -- but it's set on Earth, and deals with an experimental new model of the AID, which turns out to have unexpected side effects. I didn't find it very convincing, though. 

There is also a Robert Bloch fable about nuclear war, "Daybroke", which didn't quite work for me partly because of the contempt I felt it displayed towards people, and Isaac Asimov's story "S as in Zebatinsky" (aka "Spell My Name with an S"), about the possible wide ranging effects of a simple one letter change in a man's name. (Apparently inspired by Asimov's frustration over people misspelling his name.) And Gavin Hyde, who according to the ISFDB published only three stories, contributes a decent story called "Nor the Moon by Night", about a chess master who volunteers to be uploaded into a computer after death to serve as a chess instructor, and his despair at the loss of normal human feelings.

All those make a decent set of stories -- well above the average quality of an SF magazine back then, but the story that really surprised me was the opening novelette, "It Walks in Beauty", by Chan Davis. Davis is a mathematician who published roughly a dozen SF stories, beginning in 1946, the latest in 1994 in Crank! His best known stories may be "Letter to Ellen" (1947) and "Adrift on the Policy Level" (1959 -- from Pohl's anthologi series Star, #5). He's also known for refusing to testify before the House Un-American Activities Committee and being fired from his position at the University of Michigan as a result. He is a highly respected mathematician on his own terms -- having long since moved to Canada, to teach at the University of Toronto. He was born in 1926, and is still alive at age 95. He may be the oldest living SF writer after the death of James Gunn.

"It Walks in Beauty" only ever appeared in this issue of Star. [As of my writing -- it has been reprinted since as I will discuss later.] It's the story of a factory worker named Max. We learn right away that he is in love with a woman named Luana -- but soon we learn that she is some sort of a stripper, and that men regularly visit "houses" with these strippers -- and every so often one of them is chosen to be "jaypeed" and presumably enjoy her favors. A strange element is the "career girls" Max works with -- they are referred to as "it", and they dress mannishly, and they are regarded with a sort of pity and condescension. Max becomes friends with one such career girl, against his will pretty much, and he is exposed to some of the truth about "women" and "career girls". But can he react against his own social conditioning? The basic social setup is interesting but in the end I don't think it quite holds together, but the rather subtly portrayed look at male/female relationships, and the way it shows gender expectations distorting our perception of both men and women, trapping both sexes in stereotypical roles, really worked for me. Perhaps the story is a bit dated, but I was very impressed by it. I think it would be an excellent choice for some sort of "Tiptree Rediscovery Award", if the Tiptree folks did anything like that. 

Maybe "It Walks in Beauty" isn't quite a masterpiece. But I thought it pretty darn good, and I'm surprised that it's never resurfaced since that first printing. 

I actually, after writing this review, wrote to Ellen Datlow to bring this story to her attention for possible reprint at Sci Fiction. I'm not sure it was my prompting or something else, but in September of 2003 Sci Fiction did reprint "It Walks in Beauty" -- and with Chandler Davis' original (and preferred) ending. Pohl had asked for a change to the end, which in Davis' opinion (and mine!) weakened the story. I actually nominated it for a Hugo that year, on the grounds that it was sufficiently "new" due to the changed ending to be eligible; and also on the grounds that it was one of the 5 best novelettes of the year. And in 2010, Aqueduct Press published It Walks in Beauty: Selected Prose of Chandler Davis, which reprints several of his stories and a number of essays.