Birthday Review: Two Short Novels from Ian McEwan

Ian McEwan turns 71 today. Last year on this date I posted my look at his most famous novel, Atonement. Today, how about some short looks at a couple of very short novels.

Amsterdam, by Ian McEwan

Ian McEwan won the Booker Prize in 1998 for Amsterdam. This is a very short novel (barely over 40,000 words) about two men, a successful composer and a successful newspaper editor, close friends, who were both lovers of the same woman. The book opens with this woman's funeral, then follows the newspaper editor as the woman's husband offers some salacious pictures of a high-ranking minister for publication. The composer is working on a commission for "The Millennium Symphony". He and the editor have a row about the propriety of publishing the pictures, then, feeling morally superior, the composer heads to the Lake Country to find "inspiration" to finish his symphony. There he, in a cowardly fashion, fails to intervene when he witnesses a woman accosted by a man. The moral failings of both men lead to professional disaster, which each blames on the other ... leading finally to a clever and vicious twist ending.  This is well done, sleek, blackly funny, but all that said it's rather slight. I like what I've read by McEwan (an early story, "Solid Geometry", which appeared in Fantastic in the mid-'70s, and an early, scary, novel, The Cement Garden). [Later I came to read Atonement and other novels.] And I liked Amsterdam. But I wouldn't have thought it measured up to a Booker. I will say that his previous novel, Enduring Love, looks based on reviews to be more substantial, and I seem to recall that it was a near scandal when it didn't win: perhaps the win for Amsterdam was a make good.

On Chesil Beach, by Ian McEwan

Ian McEwan is one of the best writers of our time. I am a particular fan of his novel Atonement, a remarkable look at the destructive effect of a small, only mildly malicious, act by a teenaged girl. As I have mentioned before I discovered him in of all places Ted White's Fantastic, back in 1975 or so, with the story "Solid Geometry", a very fine creepy piece.

His new novel is very short -- novella length at something on the order of 38,000 words. It is nominally the story of one night -- the wedding night of a young British couple in 1962. (Critically, as Christopher Hitchens points out, a year before "sexual intercourse began", in the famous words of Philip Larkin.) Of course the story really extends backward -- to the childhoods of the two, and to their courtship -- and forward, to tell quickly how their lives worked out.

The trouble is, they are both virgins. Edward, the man, is terribly concerned that his inexperience will lead to an embarrassing failure to perform -- or, perhaps, rather too rapid a performance. Florence's problems are more severe -- she is terribly afraid of sex, and she really does not want to have sex at all. Ever. (There is a brief hint -- which I may be exaggerating, but Hitchens' review (in the new Atlantic) suggests he detected such a hint as well -- that she may have been abused -- or at least sexually frightened -- by her father.) It is not that Florence does not love Edward -- she does, quite sincerely. And she is not purely a mouse -- she is a very accomplished violinist, and the forceful leader of a promising string quartet. Edward quite sincerely loves Florence, and is consumed with desire for her. He took a first in History and hopes to write short popular historical books.

Their real problem, however (beyond Florence's evident psychological hangup, whatever its origin), is that they are culturally unable to talk about sex, or about their desires, fears, experiences or lack thereof -- anything at all. Mind you this is still a problem for people, but not to anything like the degree it was in 1962 (perhaps, though I am not sure, especially in England.) Class is also an issue -- Edward is of a slightly (though not terribly) lower class than Florence, and in particular his family has much less money. And so the novel turns on an eventually disastrous experience, and the small-t tragic results not just of that experience but of their dual failure to work through it by even the simplest of words.

It is very fine stuff, if quite small scale -- minor, surely, but well worth having. It was made into a movie, starring Saoirse Ronan and Billy Howle, in 2017.

Old Bestseller Review: Doom Castle, by Neil Munro

Old Besteller: Doom Castle, by Neil Munro

a review by Rich Horton

At long last, a return to the original subject of this blog -- popular novels of the early part of the 20th Century. This one probably wasn't a true bestseller, but it sold quite well, and also eventually got a TV adaptation.

Neil Munro (1863-1930) was a Scottish journalist, novelist, and poet. He was the illegitimate son of Ann Munro, a kitchen maid. (Some say his father was of the aristocratic Argyll family, which turns up in this novel.) His early career was as a journalist, and later in life he became editor of the Glasgow Evening News. Three series of humorous short stories were written for the Evening News, and arguably he remains most famous now for those. But his early novels were mostly historical novels, and later novels were serious contemporary novels. All these pieces were on Scottish subjects. He was friends with such significant Scottish writers as J. M. Barrie and John Buchan, and was spoken of as an heir to Walter Scott and Robert Louis Stevenson. However, his novels have mostly been forgotten, though Doom Castle was dramatized by the BBC in 1980.

Doom Castle was first published in 1901, by Wm. Blackwood and Sons. My edition, also from Blackwood in 1948, is part of a posthumous reissue of many of his books, called the Inveraray Edition after his place of birth.

The story is set some 10 years after the Jacobite Rising of 1745. Victor, Comte de Montaiglon, has come to Scotland on something of a private mission, looking for a man named Drimdarroch, who betrayed a woman Victor thought he loved, leading perhaps to her death. (Many of the Scots supporters of Bonnie Prince Charlie had spent time in France.) He fetches up at the somewhat dilapidated Doom Castle after being chased by some local bandits, and he encounters the Baron of Doom Castle, as well as his rather comical servant Mungo Boyd.

The Baron confesses no knowledge of the man Victor seeks, but offers his hospitality, such as it is. Doom Castle has fallen on hard times, partly because of a neighbor's predatory lawsuit. And there are mysteries -- such as who occupies the second floor -- and who is signalling from outside, playing a tune on a flageolet, to a woman (one presumes) in the castle, whom Victor is not allowed to meet.

The opening to the novel is quite slow, but things pick up once Munro has set up all his wickets and starts to knock them down. There is another encounter with the bandits, who invade the castle -- Count Victor managing to wound one of them. Victor finally manages to meet the lady of the Castle -- the Baron's daughter Olivia, and of course falls head over heels in love. But she, it seems clear, is in love with the mysterious flageolet player. Victor heads to Glasgow, still looking for "Drimdarroch", and is invited to the house of the Duke of Argyll, a good man, and there encounters his well-respected Chamberlain, Simon MacTaggart. Also there is a slimy lawyer, and his wife, who seems to be in love with MacTaggart, who has a reputation as one who likes the ladies.

We can see the shape of things coming clear. And Count Victor may be in more danger than he realizes. He also may be in better shape with Olivia than he knew. But his suspicions of the Baron are increasing -- putting him in a bad spot with regard to his conscience vs. his love for Olivia. Then the Count realizes who has been trifling with Olivia, and fights a duel, soon to be imprisoned -- suspected of murder as a result of the duel (but anyway the victim lived) -- so we are vouchsafed an escape attempt, and a meeting with a virtuous older woman ...

After the slow beginning, I thought this was a pretty fun romantic historical novel. Its serious subject -- a minor part of this particular book -- is the conflict between the Scottish lowlanders (and their rapprochement with the English) and the highlanders. But the heart of the novel is the love story, and the way Victor's original mission -- almost unimportant to him by now -- is solved along with the resolution of his new ambition. I would say Munro still deserves to be read, though he will probably never again have a significant reputation.

Birthday Review: Ruled Britannia, and short fiction by Harry Turtledove

Harry Turtledove was born on June 14, 1949. I should have posted something for his 70th birthday, but I was kind of busy, what with wedding preparations and a rehearsal dinner, for my daughter Melissa and her now husband Joshua Whitman. So, better late than never -- here's some of my reviews of Harry Turtledove's work.

Review of Ruled Britannia, February 2003 3SF

Harry Turtledove's Ruled Britannia considers a fairly common Alternate History point of departure -- the Spanish Armada was successful in conquering England in 1588.  (As in, for example, Keith Roberts's Pavane and Kingsley Amis's The Alteration -- two of the very greatest Alternate History novels.) But Turtledove sets his story much earlier -- not in roughly our present day, as with the two examples I mentioned, but rather in 1597, less than a decade into the Spanish occupation of England, with King Philip's daughter Isabella installed on the throne.  (As Turtledove points out, Isabella actually did have at least a tenuous claim to the English crown -- no surprise, perhaps, given how tangled European dynasties became.)  England has been forcefully restored to Catholicism, and a homebred English Inquisition is killing people for such crimes as witchcraft and sodomy.  But in general the populace seems resigned to the changes, if not precisely happy about them.

The protagonists of the book are the greatest playwrights of that time: England's William Shakespeare, and Spain's Lope de Vega.  Shakespeare is presented as a vaguely apolitical man, working away as his company, Lord Westmoreland's Men, presents such of his plays as Prince of Denmark and If You Like It.  He is almost simultaneously given two commissions.  A faction of English resisters wants him to write a play about Boudicca, the English queen who resisted the Romans, in order to help stir up passions against the Spanish occupiers.  And the Spanish authorities want him to write a play about King Philip, to be presented in his memory on the occasion of his death, which is soon expected.  Lope de Vega is a lieutenant in the occupying force, and it is his job to keep an eye on Shakespeare and his fellow players.  He is also charged with tracking down suspected criminals such as Christopher Marlowe, and he spends the rest of his time juggling a variety of lovers, both English and Spanish.

The novel moves rather slowly to its fairly predictable conclusion.  It's generally enjoyable -- it must be said that it's fun to daydream about additional plays from the pens of Shakespeare and Marlowe.  And Turtledove raids Shakespeare's works (as well as Marlowe's and Dekker's and Fletcher's and others) for much of the dialogue, as well as for the invented snatches he presents of the new plays.  But I couldn't quite believe in the presented characters of Shakespeare and de Vega: much attention is paid to putting period sentiments in their mouths, but their general actions and attitudes still struck me as too modern.  And the plot is a bit too slowly paced, not really twisty enough, and rather implausible in basic outline.  It's a pleasant way to pass a few hours, but not a fully successful book.

Locus, April 2004

The other novella from The First Heroes is from Harry Turtledove, called "The Horse of Bronze", and it's a good one as well, the best story I've seen from Turtledove in some time. It supposes an alternate past in which the lands of the dawn of civilization are variously occupied by mythological creatures: centaurs, sphinxes, sirens, fauns, vampires, piskies, etc. The wise old centaur Cheiron takes a ship to the Tin Isles to discover why the tin necessary to make bronze has been in short supply -- and the reason (easily enough guessed, so I won't say it) bodes ill indeed for the centaurs' future.

Locus, July 2005

The Enchanter Completed is a tribute anthology in memory of L. Sprague de Camp. Harry Turtledove has solicited a number of stories that are either in De Camp's style, or set in one of his fictional milieus, or even in one case feature De Camp and his wife as characters. It is an entertaining book. Highlights include Turtledove's own "The Haunted Bicuspid", in which a plainspoken businessman in mid-19th Century Baltimore gets a new tooth from an unexpected source, with amusing if rather scary effects.

Locus, August 2005

Harry Turtledove's "He Woke in Darkness" (Asimov's, August) is a bit too formulaic – retelling the murders of James Chaney, Michael Schwerner, and Andrew Goodman in an alternate Philadelphia, Mississippi in which white people are those oppressed – but it was certainly spooky that the day I read the story was the day Edgar Ray Killen was at long last convicted for his role in the killings.

Locus, December 2005

The lead story for the December Analog is Harry Turtledove’s novella “Audubon in Atlantis”. Turtledove is of course the leading practitioner of Alternate History, and this story is a nice example of the pleasures of that subgenre. It is straightforwardly a description of Audubon’s trip to the mid-Atlantic continent called Atlantis in search of the nearly extinct birds called “honkers”. (Large birds resembling, perhaps, moas.) Atlantis, we soon learn, is the Eastern portion of North America, which in this alternate universe has become separated from the rest of the continent – resulting in a different ecosystem (analogous in many ways to the differences between Australia and the rest of the world). The story is a very effective portrayal of Audubon as a man, as well as a nicely pointed look at the problems of isolated ecologies when they come into contact with the rest of the world.

Locus, February 2013

At Analog in March Harry Turtledove offers a sharp look at a possible future, “The End of the World as We Know It, and We Feel Fine”. We see Willie playing with his pet fox, and encountering a quarrelsome neighbor, and meeting a pretty girl, and we learn what Willie is like, and his fox, and the girl, but not so much the neighbor – they are people designed for a nonconfrontational future, changed in the way the fox was changed to be doglike. And the story shows us what that gains, and loses, and asks (without an answer), would it be worth it?

Birthday Review: The Gold Bug Variations, by Richard Powers

Richard Powers turns 62 today. He's been a big name in contemporary literature for some three decades now, and he remains at the top, more or less, having won the Pulitzer Prize for his most recent novel, The Overstory. Here's a long blog post I wrote a couple of decades ago about one of his first novels.

The Gold Bug Variations by Richard Powers

A review by Rich Horton

This book had been close to the top of my TBR list for an inordinate amount of time. I thought the book sounded interesting from reviews back it first came out (1991). Later on Glen Engel-Cox praised it extravagantly, and it started showing up on my Alexlit recommendation list as well.
Two weeks ago [quite a while back] I finally tackled it.  Not the most auspicious time, in some ways: I've been working extra hours, and my reading time has been somewhat curtailed.  Perhaps partly as a consequence, the book started slowly -- or at any rate my reading started slowly -- but somewhere about halfway in it became wholly absorbing, and in the final analysis it's a wonderful book, intellectually involving, emotionally wrenching, well-constructed, and deeply moving. 

The book is told in three separate tracks. We open with Jan O'Deigh, a research librarian in Brooklyn, receiving a postcard from her ex-lover, Franklin Todd, telling her that their close mutual friend, Dr. Stuart Ressler, has just died. Jan responds by quitting her job, and spending the next year or so trying to learn enough about genetics to understand Dr. Ressler's work. She narrates an account of that year, interspersed with a report or two from Frank Todd, who seems to be in Europe, researching his long-delayed dissertaion on the obscure Flemish painter Herri met Bles.  All the time she  is apparently trying to work out how to find Franker, and (we suppose) rekindle their relationship.  Jan also tells us of the events of a couple of years previously, when she met Dr. Ressler at the library, then, by coincidence, Franklin.  Franklin asks her to research a question: for what was Stuart Ressler briefly well-known?  For Dr. Ressler, now Frank's coworker on the night shift at a dataprocessing firm, has a mysterious past as an important scientist. Todd wants to know why Dr. Ressler abandoned his position to do, essentially, scutwork. Jan finds a bit of the story: a Life magazine profile from 1958 highlights Dr. Stuart Ressler as one of the young scientists on the track of the way DNA encodes genetic information.

So, two tracks are Jan in the "present" (1985), and Jan, Stuart, and Franklin in the near past (1983). Jan becomes fascinated with Franklin, and with Dr. Ressler, and begins visiting them while they are working. (There night shift job is rather relaxed in nature, most of the time.)  She falls in love with Todd, eventually pushing herself to break off her longterm relationship with an advertising man, Keith Tuckwell. And she and Frank, among other things, probe at the secretive Dr. Ressler about his past.

The third narrative track, in third person, follows Stuart Ressler, back in 1957-1958, as he comes to the University of Illinois at Champaign-Urbana (my school!) to accept a research fellowship and join a multi-disciplinary team trying to figure out the way the four DNA bases encode genetic information. The various members of the team are presented at first as brilliant scientists. Karl Ulrich is the somewhat remote and driving leader. Toveh Botkin is an older woman, a refugee from the Nazis, who befriends Stuart and teaches the tonedeaf man about music.  Tooney Blake is a intellectually exciting man, a neighbor of Stuart's, who with his wife and precocious child are the first people to really try to draw Dr. Ressler out socially.  Joe Lovering is a natural at the new field of computer programming. And Dan Woytowich is a news-obssessed man (reminding me of Sturgeon's MacLyle, from "... and Now the News") whose wife is struggling to have a baby after a couple of miscarriages. Most important to the story, though, is Jeannette Koss, a couple of years older than Stuart, married to a food engineer.

Stuart falls in love with Jeannette, and she with him, obssessively. At the same time, he begins to work out some ideas which might lead to cracking the DNA code -- but Dr. Ulrich is skeptical, and the team fractures, with Ressler and Koss and Botkin on one side, and the other three pursuing a dead end (as we are given to know). Tooney Blake, who could have held the team together, has a sort of epiphany and leaves to go back to school and study something more important.

The three threads are woven carefully together. In the past, Stuart and Jeannette stumble into a potentially disastrous affair, while the rest of the team crumbles about them for various personal reasons. In 1983, Jan and Franklin are in love, but somehow unable to commit fully, while certain impulsive, well-meant, acts lead to disaster for a friend of theirs. While in 1985 Jan learns more and more about what she really wants from life, and what made Frank and Stuart tick.

All this is further tied together by constant analogizing of such things as Poe's codebreaking story "The Gold Bug", the way that the four DNA bases form the fundamental genetic code for all life, and the way that Bach, in the Goldberg Variations, took four "base notes" and made a work of art as dizzying and complex, in a way, as life itself. The book moves towards a bittersweet and moving climax, marred perhaps just a bit by a somewhat overplotted and not quite believable crisis at the dataprocessing center where Frank and Stuart work. But by the end I was in tears, and the book had managed to create a world of its own for me, the way great books do.

Birthday Review: The Accidental Time Machine, by Joe Haldeman

The great Joe Haldeman, SFWA Grand Master, winner of multiple Hugos and Nebulas and too many other awards for me to count, turns 76 today. I haven't seen a novel since 2014s Work Done for Hire, so I don't know how much more we're going to get from him, but his career as it stands is remarkable. This is a review I wrote for my blog back in 2007 of his novel The Accidental Time Machine, the last in a quite remarkable late career run of singleton novels that (to my eye) began with The Coming (2000).

The Accidental Time Machine, by Joe Haldeman

a review by Rich Horton

Joe Haldeman has, somewhat quietly, become one of my favorite writers, for sheer reliability. It's not that I didn't highly respect him before -- I liked The Forever War a great deal, loved The Hemingway Hoax, and liked many of his short stories. But he wasn't a writer I would buy on sight. And then he went through a period where he just didn't interest me -- the novels Forever Peace, 1968, and Forever Free in particular -- fairly recent work -- simply did not appeal based on reviews. But beginning, as I recall, with The Coming (2000), I have read all his stuff, at about 18 month intervals. The Coming was followed by Guardian, Camouflage, Old Twentieth, and now The Accidental Time Machine. Each of these novels has been fairly short, quite different from its predecessors, compulsively readable, built around nice SFnal ideas (if usually familiar ones), well characterized, and philosophically interesting. Haldeman does sometimes have problems with endings -- the conclusion of Guardian in particular is a mess -- but without exception his novels are great fun to read, even if the ending is a bit rushed or a bit perfunctory. (Sometimes the endings aren't the point -- The Coming, for example, has a mild surprise ending that could be a letdown if you were expecting some dramatic transcendent revelation -- and clearly was a letdown to many readers -- but I think it is just what he planned, and it caps the novel he meant to write quite well.) Quite simply, Haldeman's novels are among those I most look forward to in complete confidence I will enjoy them.

The Accidental Time Machine is, in this sense, quite of a piece with its fellows. It deals with a somewhat familiar idea -- a time machine that only goes forward. The ur-narrative here, really, is Wells' The Time Machine, but this story reminded me more urgently of Poul Anderson's pulpy classic "Flight to Forever". But with plenty of original Haldeman touches. For one thing, this is his "MIT novel", just as The Coming was his "Gainesville novel". (Haldeman splits his years between MIT and Gainesville, FL.) And, as his afterword notes, Haldeman stumbled on a bafflegab explanation for his protagonist's time travel that turns out to have at least some physical plausibility.

Matt Fuller is a post-grad working on a graviton detector. He has just been dumped by his girlfriend, as it turns out for a rival post-grad. One day he notices that his machine seems to disappear briefly, then reappear. Rather quickly (perhaps too quickly) he figures out that it disappears for exponentially increasing times, and that anything within a Faraday cage attached to the machine goes with it. He assumes that the machine is traveling in time -- and, it turns out, fairly predictably in distance as well. He ends up deciding to go along with the machine -- with disastrous consequences, as he is soon detained on suspicion of murder. His only escape is farther into the future.

So we have a bit of a travelogue to varying futures, most notably one in which the Eastern US is under the rule of an oppressive theocracy. There he picks up a companion, a pretty and innocent young woman. He has some hope -- hints that he must have eventually returned to his own time, as well as contact with an AI interested in travel to the very far future indeed. The resolution is quite nice, not exactly expected but not unexpected either. The SFnal content throughout is involving, if never coruscatingly brilliant. Just intelligent, thoughtful, and entertaining. Again, a novel that I thoroughly enjoyed.

Birthday Review: Stories of Kate Wilhelm

The great Kate Wilhelm was born June 8, 1928, and died a year ago March 6, just a few months short of her 90th birthday. She was my leading candidate for most unfairly passed over would-be SFWA Grand Master -- I wonder if her turn to writing primarily mysteries over the past few decades of her life contributed to that oversight. I thought one of those mysteries, the first Barbara Holloway novel, Death Qualified, was also an exceptional SF novel. I also greatly liked the also often fantastical Constance and Charlie stories. And her novels and short fiction published within the field were also excellent. My favorite novel was probably Juniper Time; and my favorite short fiction included "Baby, You Were Great", "The Fusion Bomb", "Somerset Dreams", and "Forever Yours, Anna".

She was one of those writers nurtured somewhat, early in their careers, by Cele Goldsmith, and I had hoped to get a chance to ask her about Goldsmith, but I never did, one of my regrets. (I also waited too long to ask Harlan Ellison about Goldsmith, but fortunately I did get a chance to send Ursula K. Le Guin a letter to which she gave a lovely response.)

Here's what I've written about her short fiction, either in my "Retro-reviews" of old magazines, or of her late work, in my Locus column. As such, these notes don't really mention her very best work, but they do show that, early and late, she was always good.

Retro-review of Amazing, February 1960

The great Kate Wilhelm's first story appeared in one of the Paul Fairman issues of Fantastic in 1956, and her first important story ("The Mile-Long Spaceship") in John Campbell's Astounding in 1957, though really Robert Lowndes, at Future and Science Fiction Stories, was her most important early editor. But she did have a few stories in Goldsmith's issues. "It's a Good Trick If ..." is an amusing short piece about a family in which strange hallucinations keep happening -- even to the dog -- and it becomes eventually clear that their young son is the cause. Minor work, sure, but well enough done.

Retro-review of [The Original] Science Fiction Stories, May 1960

Kate Wilhelm's "The Living Urn" is another crime story. A disreputable art collector wishes to steal a rare "living urn". But it turns out, in a nice twist, that he can thus be useful to the authorities, who want that object safely delivered to Earth. Minor but nicely done.

Locus, February 2002

Kate Wilhelm supplies the cover story for the February F&SF, "The Man on the Persian Carpet". The two main characters are Carolyn Harley and Drake Symes, who had "fallen in and out of love since kindergarten".  But Carolyn's parents oppose the relationship, and Carolyn finds herself unexpectedly marrying a man she barely knows, after a rather creepy sexual encounter. Drake drifts into occult publishing, and Carolyn also brushes with the occult, learning palmistry.  Years later, after a child and a divorce, Carolyn meets Drake again, and they fall back in love -- but Carolyn realizes that her palm, and Drake's, and that of her teenaged son all tell of a cataclysmic event a few years in the future.  It is that event around which the story turns -- and Wilhelm drives things to a well thought out conclusion, with real sacrifice and loss amidst possible happiness, the sacrifice more poignant because of its nature (which I will not reveal).  This is the best Kate Wilhelm story I've read in a few years -- perhaps it is marred slightly by a somewhat implausible villainous plot driving the crisis, still, it's a very fine story.

Locus, April 2008

The February issue also offers an all too rare Kate Wilhelm sighting, with “The Fountains of Neptune”, a quiet story of a woman dying of cancer who visits Rome one more time and, perhaps, encounters a god.

Locus, February 2011

The January-February F&SF has a fine new Kate Wilhelm piece, “The Bird Cage”. Dr. Grace Wooten is researching methods of human near-hibernation for a rather unpleasant rich man who wants to find a way to live until his diseases can be cured. But her first human trial leads to some completely unexpected side effects, as the sleeping man somehow seems to interact with people involved in significant events in his life, including his brother and a girl who had been present when he nearly drowned as a child. Those two, after scary “fugue states” in which they remember those events, come into contact, and eventually confront Dr. Wooten, who is faced with scary evidence of the dangers of her research.

Birthday Review: Short Fiction of Kit Reed

Kit Reed was born June 7, 1932, and died in 2017. She was a particularly sharp satirist, and always ready to see horror in ordinary(ish) situations. She wrote quite a few novels, often non-fantastical, but for me (and I suspect, for many readers) her best work was her short fiction. This is a selection of my reviews of her work for Locus -- as with many writers with long careers, much of their best work appeared before I started writing for the magazine, and I regret thus missing her some of her best work, but she wrote incisively to the end of her life.

Locus, June 2002

May's Sci Fiction offerings are a decent set. Best is probably Kit Reed's "The Last Big Sin", about an obese man at a religiously oriented "fat farm". It seems overeating is "the last big sin", and this man struggles to comply with the boot camp conditions – only to discover a bitter secret behind the camp's operation. Reed does mordant satire as well as anybody, and this is pretty solid mordant satire.

Locus, May 2003

Kit Reed in particular is impressive in the May F&SF, with "Incursions", a striking paranoid fantasy of an ordinary man's alienation from his life. Dave Travers takes a train from his suburban home into the city, planning to apply for a job that might free him from his boring routine as a college instructor. But his sense of desperation increases, and he escapes the train in rural Connecticut: but his life is still going nowhere. The base story here is fairly familiar, but Reed's use of imagery from sources such as the old computer game Zork makes it seem new again.

Locus, September 2003

Kit Reed's wicked "Focus Group" tells of a woman who falls for a soap actor and manipulates her focus group to help his career. Sort of.

Locus, June 2004

The May lineup at Sci Fiction is strong. ... Better still is a scary little domestic piece from Kit Reed, who does domestic scariness better than anybody. "Family Bed" is told by a teenaged girl in a large family. They live their life as an advertisement for the virtue of family togetherness, including everyone sleeping in the same bed. Reed portrays the creepiness of this situation beautifully, upping the ante at nearly every paragraph, making the really icky climax effective.

Locus, September 2004

Kit Reed's "Yard Sale" (Asimov's, August) is about two sisters trying to sell their father's various obsessive collections after his death. But her father's acquisitive and hoarding spirit has survived. Reed is perhaps the most effective writer of truly original and off-center horror around, and this is another example. 

Locus review of Nine Muses (February 2006)

Kit Reed’s “Spies” is a better fit, and it too is one of the better entries here, a funny Southern story about another group of goddesses, hinted at by their names (Ada, Clo, and Lally).

Locus, September 2006

Kit Reed is perhaps the best writer we have of satirical SF horror, and “Biodad” (Asimov's, October-November) is anotherstrong example. A successful woman has two children by artificial insemination, but eventually decides to find their biological father. But his ideas of his fathering responsibilities are a nasty surprise.

Locus review of Naked City (August 2011)

Kit Reed’s “Weston Walks” takes quite a different look at New York, about a rich orphan whose only contact with the rest of the world seems to be unusual tours he gives of the city – until an odd young woman tries to get to him.