Birthday Review: Stories of Robert Moore Williams

(Cover by Jeff Jones)

Robert Moore Williams was born in Farmington, MO, in 1907. He began publishing SF in 1934, made a mild splash with the 1938 story "Robots Return", and continued publishing fairly regularly into the 1970s. He was possibly best known for a number of Tarzan-like knockoffs, first the Jongor series from the pulps in the '40s and '50s, reprinted in 1970 or so when there was something of a Burroughs revival, and also the Zanthar series, from the late '60s. (These two series featured covers by perhaps the most significant Sword and Sorcery artists of that era -- Jeff Jones for Zanthar, and Frank Frazetta for Jongor.) His late short fiction (that is, that from the 1960s) was all for Frederik Pohl at If -- he was one of several writers from Pohl's youth that he lured back to publish short fiction for his magazines in the '60s.

I found his stories rather ordinary, but generally professionally done. Here are looks at a few stories of his I have read in some older SF magazines.



I have also reviewed a couple of his Ace Doubles here.

The Star Wasps

King of the Fourth Planet


Super Science Stories, May 1950

"The Soul Makers" by Robert Moore Williams is one of two stories dealing with Nuclear War. (If you ever see an SF magazine from the early 50s without a Nuclear War story, you can bet it's a fake.) In this case the Americans are fighting the East Bloc, with the help of newly invented robots. The robots are acting erratically however -- and it turns out they have realized that the fallout from the bombs has already doomed humanity, and they are planning for the future.

Thrilling Wonder Stories, April 1951

Robert Moore Williams' "The Void Beyond" posits that space travel is so painful that only young men -- no women, and no one over 30 -- can survive it. Eric Gaunt is a veteran captain, 28 or so, who is disgusted when a woman tries to come aboard, having bought her ticket legally with her ambiguous name, Frances Marion. So then the woman stows away ... and when they catch her she insists that the problem is in their head and if they just exhibit will power they'll be able to tolerate space, just like she will. The ending is a mild twist. Generally a pretty silly idea and execution, with a predictable romance tacked on.

Imaginative Tales, July 1957

As for Robert Moore Williams' "The Red Rash Deaths", it's about a policeman investigating a mysterious plague -- a terribly contagious red rash has caused dozens of hundreds of deaths. He tracks down a strange man who seems associated with the deaths ... and a deus ex machina (or ex futura) solves his predicament.

Super Science Stories, May 1958

Robert Moore Williams (name given as "Robert M. Williams" on the TOC, but the full name shown on the story page) contributes "I Want to Go Home" (3500 words), about a troubled boy who has spent his whole life obsessed with the idea that he is out of place in our world, and he wants to go home. He eventually infects the police psychiatrist assigned to his case with the same concern. A minor story, but Williams does come to an unexpected conclusion.

If, October 1965

"Short Trip to Nowhere", by Robert Moore Williams, is set in the distant future of 2010, where there are antigravity beds and sleep machines. One night the protagonist is a accosted by someone in his sleep -- and after wondering who could talk to him via the sleep machine, he realizes that his 3-year-old daughter also seems to talk to -- and play with -- someone while she sleeps. This soon leads to the creature in the sleep world luring the child into his "world" -- and when the Dad talks to the creature via his sleep machine he quickly realizes that this creature has no notion that his world isn't made for humans -- for example, there's no food there. Kind of a trivial piece, really.

Birthday Review: The Coming, by Joe Haldeman

Joe Haldeman turns 77 today. He's an SFWA Grand Master, one of the truly fine writers of his generation. He's one of those writers who made a huge splash early in his career, with his second novel, first SF novel, The Forever War; and in some ways I sometimes think that's made people forget how consistently strong his novels have been throughout his career. I haven't seen a novel since Work Done For Hire in 2014 -- I hope we might have more coming. Here is a review based on a blog post I did of one of his solid late middle-period books.

The Coming, by Joe Haldeman
a review by Rich Horton

Joe Haldeman's newest book is The Coming. This is a shortish, nicely executed, book about the receipt of a signal from an alien ship. Haldeman explicitly credits James Gunn's fine novel about receiving messages from aliens, The Listeners, as an influence, but The Coming reminded me much more of a brilliant and underrated novel by John Kessel, Good News From Outer Space. Both books (The Coming and Kessel's novel) use the idea of aliens coming to Earth as a fulcrum for an exploration of U. S. society.

The Coming opens with an astronomer at the University of Florida, Aurora Bell, recognizing an anomalous signal from a gamma ray telescope. It turns out to be a short message saying, in English, "We're Coming". And she is able to confirm that it comes from a source about a tenth of a light year from Earth, blue-shifted so that it must be traveling at 99 percent of the speed of light.

The novel is neatly structured so that the point of view smoothly shifts from scene to scene, such that each new scene begins from the POV of a character encountered just previously.  This gives the whole book a certain fluidity and a certain sense of movement, and it also alows the author to gracefully explore events through the eyes of a wide variety of characters.  What we see is a portrait of\ the city of Gainesville, Florida, in the 2054. The characters include Dr. Bell and her husband, a composer and also a professor; several colleagues of Dr. Bell, significantly including her assistant, a mysterious immigrant from Cuba named Pepe Parker; a restaurant owner in the University neighbourhood; a Mafia bag man; a policeman; a couple of reporters; a homeless lady; a university student making extra money by "acting" in "virtual reality" pornographic episodes; and more. Haldeman uses this tapestry of viewpoints to portray the reaction of the wider populace to the Coming of the aliens, but more importantly, he uses it to portray the social and political and technological landscape of this particular future.

Haldeman's portrayal is interesting. The future tech includes highly computerized homes and holographic conference calls and the above-mentioned virtual porn. Environmentally, the world is facing advanced global warming, with much flooding, unusual winters and summers, sunblock essential at all times lest you get skin cancer, etc. The political view of the US is a bit disappointing: his view is a cynical redaction of contemporary politics, with all but unchanged Democratic and Republican parties, and an image-besotten Republican idiot as President.  I'd have rather seen a more altered political landscape. There are snippets of world politics that present some interesting changes: an important subplot concerns a looming war between France and Germany. The major social change in the U. S. that affects the book is that much stricter laws about sexual activity have been implemented: homosexuality is completely criminalized, while even some consensual married activities are apparently against the law (though not often enforced).  I confess I find these last changes implausible and counter to real social trends in the U. S. today: perhaps I am simply an optimist. His overall future is somewhat depressing but not without hope, and it is quite interesting. The characters are well-portrayed and involving.

The plot is also interesting. It turns on political manoeuvring about the proper response to the arrival of the aliens, as well as the calamitous revealing of a dark secret in the Bells' past.  There is a certain amount of action and intrigue, resolved nicely enough. And Haldeman's climax, involving the promised arrival of the aliens, is well-handled, and the reader isn't cheated.  Overall the book feels just a bit slight, but it's a fine effort, and a good solid read.

A List of 100 (+) Books I Haven't Read

One Hundred Books on my TBR Pile

I put this list together after having previously rather carelessly posted a shabbily curated list of 100 (actually 99) books that, it was claimed, was put together by the BBC and that of which, supposedly (no proof offered) the average person had only read 6. The list also included a couple of strange duplicates, too many books by certain writers, and a couple of (in my opinion) egregiously bad books. On the other hand, most of the books on the list were actually pretty good, so it was fun discussing it.

But then, I thought -- this might be more interesting. This list is one I made essentially from looking at my (literal and also figurative) To Be Read pile -- books I've known about for years, own in most cases, and think are awfully interesting. Some are fairly recent books (many SF) that I've been meaning to get to, others are older books, mostly in the category of "classics". Some people have noted that some of them seem like the lesser-known, and arguably "lesser", books of great writers. There are two reasons for this: some are books by writers whom I've already tried, but want to read further. So, I've read Henry Esmond and Vanity Fair, and I want to read more Thackeray, hence Pendennis. I've read Middlemarch, and want to read more Eliot, hence Daniel Deronda. I've read lots and lots of Byatt, but never got to Babel Tower, hence it's there. The other reason is that I don't necessarily agree that all these books are "lesser" ... speaking as one who hasn't read them. Is Anna Karenina "lesser" than War and Peace? I don't know, but it seems pretty major to me. Is The Blind Assassin lesser than The Handmaid's Tale? I don't think so (can't say I know) ... it's just the book that hasn't become a famous miniseries.

Anyway -- what's not on this list. First -- nothing I have already read. So don't ask me why there's no Jane Austen -- I've read her complete works. Same with Kingsley Amis. Anthony Powell. Robertson Davies. Penelope Fitzgerald. Flann O'Brien. Kipling. Flannery O'Connor. W. M. Spackman. Karen Joy Fowler. etc. etc. etc.

It is my list, and I read only English (a failure of mine, not any sort of virtue), so it's very English-language-centric, and beyond that rather Western-centric, with some attempts to broaden that. Parts of it are pretty idiosyncratically me -- but what would be the fun if that wasn't true? And this is a shame-free zone, I hope -- if you haven't read these, great! Neither have I! That just means we have more to look forward to!

I have also expanded my additional list to include some excellent suggestions offered after my original Facebook post. Those appear at the end.

I have, as of August 2024, a bit more than four years after the original post, gone ahead and put strikethroughs on each book that I can now say I've read. There are also cases where I read another book by the same author but not the one I cited (i.e. I've read David Copperfield now, but not yet Great Expectations ... but I haven't struck through the original books in those cases.)

Chinua Achebe, Things Fall Apart

Richard Adams, Watership Down

Isabel Allende, The House of the Spirits

Charlie Jane Anders, The City in the Middle of the Night

Eleanor Arnason, Daughter of the Bear King

Kate Atkinson, Life After Life

Margeret Atwood, The Blind Assassin

Honore de Balzac, Pere Goriot

John Barth, Giles Goat-Boy

Saul Bellow, The Adventures of Augie March

Lauren Beukes, Zoo City

Elizabeth Bowen, The Death of the Heart

Anne Bronte, The Tenant of Wildfell Hall

A. S. Byatt, Babel Tower

Willa Cather, My Antonia

Eleanor Catton, The Luminaries

Anton Chekhov, Selected Stories

Wu Cheng’En, Journey to the West

C. J. Cherryh, Cyteen

Wilkie Collins, The Moonstone

Ivy Compton-Burnett, Manservant and Maidservant

Joseph Conrad, Lord Jim

John Crowley, Lord Byron’s Novel: The Evening Land

Mark Z. Danielewski, House of Leaves

Samuel R. Delany, Tales of Neveryon

Thomas M. Disch, On Wings of Song

Charles Dickens, Great Expectations

Fyodor Dostoyevksy, The Brothers Karamazov

Roddy Doyle, Paddy Clarke Ha Ha Ha

Jennifer Egan, Manhattan Beach

George Eliot, Daniel Deronda

William Faulkner, Absalom, Absalom

Gustave Flaubert, Madame Bovary

E. M. Forster, A Room With a View

George Macdonald Fraser, Mr. American

Elizabeth Gaskell, Cranford

Nikolai Gogol, Dead Souls

Alasdair Gray, Lanark

Henry Green, Doting

Elizabeth Hand, Curious Toys

Thomas Hardy, Far from the Madding Crowd

Tsao Hsueh-Chin, Dream of the Red Chamber

Kazuo Ishiguro, The Remains of the Day

Howard Jacobson, The Finkler Question

Henry James, The Ambassadors

Marlon James, Black Leopard, Red Wolf

N. K. Jemisin, The Hundred Thousand Kingdoms

James Joyce, Ulysses

Franz Kafka, The Trial

Milan Kundera, The Unbearable Lightness of Being

Margaret Laurence, Rachel, Rachel

Ursula K. Le Guin, Always Coming Home

Stanislaw Lem, Solaris

Eleanor Lerman, Radiomen

Doris Lessing, Canopus in Argus

Jonathan Lethem, Motherless Brooklyn

Karen Lord, The Best of All Possible Worlds

George MacDonald, Lilith

Naguib Mahfouz, Arabian Nights and Days

Hilary Mantel, Wolf Hall

Gabriel Garcia Marquez, Love in the Time of Cholera

Herman Melville, Moby Dick

Toni Morrison, Sula

Ottessa Moshfegh, Homesick for Another World

Haruki Murakami, The Wind-Up Bird Chronicle

Lady Murasaki, The Tale of Genji

Robert Musil, The Man Without Qualities

Vladimir Nabokov, Laughter in the Dark

Helen Oyeyemi, Mr. Fox

Edgar Pangborn, Wilderness of Spring

Georges Perec, Life: A User’s Manual

Marcel Proust, In Search of Lost Time

Alexander Pushkin, The Captain’s Daughter

Mary Renault, The King Must Die

Sally Rooney, Normal People

Matt Ruff, The Mirage

Karen Russell, Swamplandia

Walter Scott, The Heart of Midlothian

Vikram Seth, A Suitable Boy

William Shakespeare, The Two Noble Kinsmen

Zadie Smith, On Beauty

Francis Spofford, Golden Hill

Laurence Sterne, Tristram Shandy

Arkady and Boris Strugatsky, Hard to Be a God

Elizabeth Taylor, Angel

William Makepeace Thackeray, Pendennis

Leo Tolstoy, Anna Karenina

Anthony Trollope, The Way We Live Now

John Updike, The Centaur

Jack Vance, Lyonesse: Suldrun’s Garden

Jo Walton, Lent

Janwilliam van der Wetering, The Corpse on the Dike

Edith Wharton, Summer

Colson Whitehead, The Underground Railroad

John Williams, Stoner

Virginia Woolf, To the Lighthouse

Xenophon, Anabasis

Margaret Yourcenar, Memoirs of Hadrian

Yevgeny Zamyatin, We

Stefan Zweig, The Royal Game

New Additions:

Ray Bradbury, Something Wicked This Way Comes

Lawrence Durrell, Constance; or, Solitary Practices

Jaraslav Hasek, The Good Solider Svejk

Shirley Jackson, The Haunting of Hill House

Leena Krohn, Collected Fiction

Chen Quifan, Waste Tide

Bruno Schulz, The Street of Crocodiles

Voltaire, Candide

Edward Whittemore, Quin's Shanghai Circus

Birthday Review: Stories of Bryce Walton

Bryce Walton would have turned 102 today. Bryce Walton, you say? Who he? He was a prolific contributor of short fiction in various genres between 1945 and 1969, with just one SF novel (Son of the Ocean Deeps (1952).) He was originally from Missouri, and he died in 1988. Frankly I found his work fairly mediocre -- but at times surprisingly ambitious. He's one of those names you'd have known if you read in the field in the 1950s ... but you might not remember him.

In his honor, here's a look at several of his stories that I have read in various 1950s SF publications.

Space Science Fiction, May 1952

As for the other story, "To Each His Star", it's wholly forgettable. Bryce Walton is not one of my favorite pulp-era writers -- I've read a lot of his work for Planet. So is this story, about four criminals who escape in a spaceship heading for a paradise planet, one of four stars. They can't agree on the right planet, though, and come to violence over it (after they have crashed and are apparently traveling light years in their spacesuits). Horrid stuff.

Science Fiction Stories, 1953

Bryce Walton's "By Earthlight" (5200 words) is an anti-war story. The first flight to the Moon is planned, and a secret organization smuggles a man onto the ship (which is not meant to be manned). It's all part of an unconvincing attempt to end all war, by reasons explained in the story that I couldn't believe. It's a very sincere story, that tries to be a powerful message piece, but fizzles.

Vortex, Volume 1 Number 1

"The Last Answer", by Bryce Walton (4300 words) -- Computers and robots have taken over all man's functions and man is stagnating. A supercomputer decides that for the good of man this must change.

Planet Stories, Summer 1954

I read "Mary Anonymous", by Bryce Walton (7400 words) a few years ago in Planet Stories and didn't remember it before rereading it in Don Wollheim's anthology The Earth in Peril. It's not too bad -- Walton's stories didn't usually impress me much, but he could show some real ambition. Mars and Earth have been at war for decades, and Earth has just figured out the weapon to exterminate the Martians. But as they launch it, Mary suddenly rebels, and, as it turns out conditioned by the Martians, destroys the Earth spaceship. It's a surprisingly cynical story -- both Earth and Mars come off as irredeemably evil. Mary is sympathetic but does bad things too. The story ends with a twist revelation about Mary that seemed obvious to me (but then I had read the story before!)

Orbit, July-August 1954

"The Passion of Orpheus", by Bryce Walton (7500 words) -- probably the most ambitious of these stories, though not quite successful. After some disastrous nuclear wars, a small remnant of humanity survives. They remember the great days of life in the City. Finally, a representative young man is sent to the City, with instructions to go to the Temple and sing the Song, which may do something good but unspecified. Near the city he meets some beautiful but unambitious people, who try to keep him with him (using sex and all), but he continues to the City, sings the Song, and learns its real purpose, and the real nature of the people he has just been with. It doesn't convince, but it's not without interest -- Walton at something like the top of his not very extensive range.

If, June 1955

Bryce Walton's "Freeway" (5000 words) is a curious combination of the "people living in their cars all the time" story with the "oppressed intellectuals" story. Our hero and his wife are driving all the time, forbidden to stop for more than 8 hours at a time because he has been accused of "philosophy", and also of supporting the previous administration. His wife is sick, and he stops illegally, and he is pushed to violence, but then ... The setup is strained, and the resolution implausible.

If, October 1957

The other novelette (note that at If even stories over 20,000 words were still novelettes -- as I have noted elsewhere, Novella did not become a common term until much later, though Short Novel was not uncommon) was Bryce Walton's "Dark Windows". This concerns a future in which "eggheads" are blamed for all the world's problems. People have periodic intelligence tests, and are subject to destructive brain-probes if they fail -- or, I should say, pass! Our hero, Fred, a loyal patriot, is recruited to the SPA to help hunt down eggheads, partly because he is held to have well-suppressed intelligence. Well, you can see where this is going -- Fred will become an Egghead -- but Walton does get to a slightly unexpected ending.

Birthday Review: Stories of Caitlin R. Kiernan

Birthday Review: Stories of Caitlin R. Kiernan

Today is Caitlin R. Kiernan's birthday, and I find I've never published a collection of my reviews of her short fiction. So here is one!

Blog review of Shadows Over Baker Street, November 2003

"The Drowned Geologist", by Caitlín R. Kiernan, also only peripherally features Holmes, mostly telling of an American geologist who encounters some mysterious old fossils on a visit to England.

Blog review of Gothic!, April 2005

I quite enjoyed Caitlin R. Kiernan's "The Dead and the Moonstruck", another "reversal" story, this one about a changeling raised by ghouls who must pass a rite of passage test to become fully accepted by her new family. The story doesn't really go anywhere though -- it is clearly a bit of backgrounding for a character in her latest novel. But I did enjoy it.

Locus, December 2008

The opening and closing stories in the fine, typically rather mannered, small magazine Not One of Us (now up to 40 issues!) impressed me. Caitlín R. Kiernan’s “Flotsam” is a brief intense depiction of the protagonist’s latest encounter with a seductive vampire of sorts – it’s essentially a prose poem, and as such not easy to pull off, but Kiernan’s writing is lovely and it works.

Review of Eclipse 4 (Locus, May 2011)

“Tidal Forces” by Caitlin R. Kiernan is very well-written, and the central characters are utterly real, but its central conceit, which is purposely just plain weird, came off simply too affected for me. I have no doubt Kiernan did exactly as she intended, and used the idea with eyes fully open – but it didn’t work. There’s still plenty to like in this story of a woman whose partner is afflicted with a black hole, quite literally, that begins to eat her substance away.

Review of Supernatural Noir (Locus, August 2011)

And finally Caitlín R. Kiernan’s “The Maltese Unicorn”, which is as stylishly noir as any story here, about a used bookstore owner who is friendly with a mysterious brothel owner, and thus ends up trying to track down a strange object – a dildo – for her, and ends up getting involved, to her distress, with a beautiful and untrustworthy woman mixed up in the whole business. I thought this the best story in the book, and the story that most perfectly, to my taste, matched the theme.

Review of Naked City (Locus, August 2011)

The American West, and mines, are also central to another strong Caitlín R. Kiernan story, “The Colliers’ Venus (1893)”, in which a museum curator investigates a captured woman – a woman found encased in rock, while dealing as well with his own abortive relationship.

Old Bestseller: Franny and Zooey, by J. D. Salinger

Franny and Zooey, by J. D. Salinger

a review by Rich Horton

Franny and Zooey was J. D. Salinger's third book, published in 1961. The two previous books were his only novel (The Catcher in the Rye) and a story collection (Nine Stories.) The two parts of Franny and Zooey appeared in the New Yorker in 1955 and 1957.) It's a short book, and is usually described as comprising a short story ("Franny") and a novella ("Zooey".) In fact "Franny" is a longish short story at some 10,000 words by my rough count, and "Zooey" is a very long novella, perhaps 50,000 words. For that matter, the two pieces are intimately related, and if you ask me, they work together as a unified whole, and I think it makes a fair amount of sense to call the book a true novel.

This is the third Salinger book I've read. Like everyone else of my generation, I was assigned The Catcher in the Rye in high school, and like (it sometimes seems) only a few people, I rather liked it. I also read Nine Stories, and reread much of it just a few years ago. I think some of those stories are very fine. I could continue to the last book (Raise High the Roof Beam, Carpenters, and Seymour, an Introduction) but I am gathering that his work seemed to decline in quality as time went on, so perhaps I won't continue.

So I decided I'd read "Franny", because it's kind of short. And I read it through, liking it fine if not really loving it. It's the story of a few hours one weekend in which Franny comes up from her school (unspecified -- I thought it might be obvious to smarter readers but apparently it's not clear -- I'd have said maybe Vassar? maybe Mount Holyoke? but I don't know) to Harvard, where her boyfriend Lane goes, to attend the Harvard-Yale game. They go to a restaurant, and talk, and Franny is revealed as an interesting if a bit, well, immature young woman, while Lane is revealed as a prat (or "phony", Holden Caulfield would say.) Franny talks about books and her acting and about the odd book she's reading, The Way of the Pilgrim, about a man in Russia who is convinced that the way to spiritual truth is to continually recite a prayer: "Lord Jesus Christ have mercy on me". Franny doesn't eat and then gets sick. Lane mostly just gets mad that he's missing the game. By the end I was sure Franny was pregnant.

"Zooey" is set only a few days later, after Franny, in her delicate condition, has gone home to New York. It is basically organized around three communications between Zooey and his family -- first a long letter from his brother Buddy, next a long conversation in the bathroom with his mother, and then an even longer harangue (in a couple of parts) from Zooey to the distraught Franny. I kept waiting for the other shoe to drop about Franny's condition, but it never did, and eventually I realized Franny is NOT actually pregnant (though she probably was sleeping with the rather shallow Lane.) Instead she's having a spiritual crisis, based partly on her reaction to the book and its "prayer". Zooey, a TV actor, is unconvinced of the value of the book, and expresses some of his own philosophical notions, along with descriptions of his TV career, a couple of new scripts he's looking at, a potential movie he could appear in in France, and aspects of his family life. His and Franny's family, the Glasses, are Salinger's major fictional obsession -- the excellent story "A Perfect Day for Bananafish" features their older brother Seymour, who committed suicide. The children all appeared on a long-running radio show, which seems to have affected them in something like the way child actors are often depicted as being affected by early fame. Anyway, Zooey's ramblings (and really he does ramble) are sometimes interesting, somes just affected, to the point of occasional tedium. More to the point, he didn't really come to life for me, though Franny was a reasonably well done character.

I don't think this is a bad book, but it's not a great book either. It may be a book of its time ... probably it hit home a lot more directly in 1961 than now. I understand Salinger was quite upset that not just me but many readers assumed Franny was pregnant ... all I can say, it sure seemed like that's what we were expected to think. Salinger can (or could) write, but I think his prose was overrated at times ... it's original, has a real (though somewhat limited) voice, and certainly includes some sharp observation, but it never seemed quite striking to me, and sometimes just lost its way. Perhaps I write too much in awareness of where Salinger ended up ...

Birthday Review: The Sorcerer's House, by Gene Wolfe

Gene Wolfe would have turned 89 this past Thursday. Alas, he died last year. I am (belatedly) posting another one of my reviews in his honor. This is perhaps the best of his late novels, The Sorcerer's House, from 2010. This review originally appeared in Fantasy Magazine.

The Sorcerer’s House
By Gene Wolfe
Tor
$24.99 | hc | 302 pages
ISBN: 978-0-7653-2458-0
March 2010

A review by Rich Horton

Gene Wolfe continues to publish interesting novels about every year. His new book is The Sorcerer’s House. It is a standalone novel, and, by Wolfe’s standards, a fairly simple one. It is also quite absorbing, a very nice read, and for all its relative “simplicity” stuffed with puzzles and with such Wolfean obsessions as twins, shapechanging, and virtue. And it is told in the familiar almost naïve first-person prose of many recent Wolfe novels.

The protagonist is Baxter Dunn, who has just been released from prison. We slowly gather that he went to jail for fraud, and that his victim, or one of his victims, was his identical twin brother, George. Most of the book is told in letters from Baxter to George, though Baxter also writes to George’s wife Millie, and to a friend he made in prison. And some of the letters here are addressed to Baxter.

Baxter comes to a quiet Midwestern town called Medicine Man. At first destitute, he comes by mysterious means into possession of a house called the Black House, which is rumored to be haunted. The house is quite odd – it is (of course) bigger on the inside than the outside, and its windows sometimes seem to look out on a landscape different that what one sees from the outside. And there are a variety of unusual characters attached to the house: another pair of good/bad twins, teenaged boys named Emlyn and Ieuan; a couple of weird butlers named Nicholas or Nick; a fox who sometimes seems to be a woman; and some magical implements.

Baxter also has encounters in the town, particular a series of variously interesting women: an attractive young widow, the older woman who revealed his inheritance to Baxter, a pert policewoman, etc. And the town is also menaced by a “Hellhound”. We are left to wonder what is really going on. Is Baxter really a criminal or did his brother betray him (perhaps because they both seem to love Millie)? Why did the mysterious Mr. Black leave his house to Baxter? From whence do all the odd creatures attracted to Baxter come – the fox woman, the werewolves, a vampire?

All this is familiar territory for Gene Wolfe’s readers. What may seem unusual is how relatively transparently it is all resolved. (Though the ending does leave a couple of open questions – I have my own answers, contradicting the plain narrative, but I’m by no means sure I’m right.) At any rate, it doesn’t quite achieve the depth of Wolfe’s very best work. But it avoids the frustration of a novel like, say, Castleview, at least to this reader, who knew there was something special going on beneath that book’s surface, but never quite figured it out. The Sorcerer’s House is, in the end, an entertainment, clever and satisfying – not great Wolfe, but good Wolfe, which is recommendation enough.