Old Non-Bestseller Review: The Unfortunate Fursey, by Mervyn Wall

Old Non-Bestseller Review: The Unfortunate Fursey, by Mervyn Wall

by Rich Horton

Mervyn Wall (1908-1997) was an Irish civil servant, and also a writer of plays, stories, novels and non-fiction. The Unfortunate Fursey was his first novel (though he had written plays before that.) It was published in 1946, and a sequel, The Return of Fursey, appeared two years later. These are darkly comic works, satirical commentary on the Church and on Irish life. His later four novels seems to have abandoned the humor and the fantastical elements, and instead are deadly serious -- though well respected -- works of social realism. He retains a significant if minor reputation, both for the Fursey books and the later novels.

I heard about The Unfortunate Fursey only a few years ago, when the new Valancourt Press edition appeared with an introduction by Michael Dirda. I read the introduction somewhere and I was convinced I should read the book -- but I didn't get around to it until a couple of weeks about, spurred by the 1946 project at Chicon 8 to consider it as a potential "Hugo" candidate had there been Hugos then. And, indeed, The Unfortunate Fursey is definitely one of the best fantastical novels of its year (though Wall would probably be pipped at the post by another Mervyn, Peake, with his novel Titus Groan.)

The Unfortunate Fursey begins at the monastery of Clonmacnoise, some time in the 10th Century. This long peaceful community is under siege from by a plague of demons, and the monks turn to prayer and proven chants to conquer the devils. Alas, one monk, the simple Fursey, is so frightened by the unholy visitors that his prayers are ruined by his stuttering. Before long, the demons concentrate in Fursey's room, and the monks decide the only solution is to expel him.

So Fursey begins his travels, wholly unprepared for life on the road. The devil shows up with an offer for him -- for the minimal price of his soul he will have peace. (As with so many novels about the devil, he gets a lot of the best lines.) Fursey ends up forced into marriage with a suspected witch, after he has saved her from drowning (of course, the fact that she was drowning proved she wasn't a witch.) That marriage doesn't last long after after a sorcerous battle with a neighboring sexton. Fursey is soon trying to return to Clonmacnoise, but his fellow monks will have none of it. So then it's to a King's city to be executed, with the help of a fierce friar who will conduct the examination of Fursey. But with the help of a Byzantine prince (real identity easily deduced) Fursey escapes again.

The story is very funny throughout, and never loses its satirical edge. Fursey soon has a reputation as a formidable sorcerer, and despite his sincere faith he begins to be tempted -- for the devil never leaves him alone. He meets a beautiful woman at a temporary place of refuge, but soon the King starts a war ... No need to detail the plot any further (and my recitation so far is likely somewhat muddled.) The Unfortunate Fursey remains a success -- funny, dark, piercing, uncompromising. It's a novel that has never been precisely famous, but also never forgotten, and contemporary readers should definitely take a look.

Hugo Nomination Recommendations, 1947

Potential Hugo nominees from 1947 (1946 Worldcon)

For Chicon 8, the 2022 Worldcon, I participated in a panel on potential Hugo nominees for the 1947 Worldcon, from 75 years previously. Chicon 8 decided not to have Retro Hugos -- a good decision, I believe -- but instead hosted a series of panels on SF in 1946, including this one. The best thing about Retro Hugos is that they can spur discussion and rereading of stories from the past -- and a panel like this is doing exactly that!

Thanks to Cora Buhlert, David Ritter, Dave Hook, Trish Matson, Michael Haynes, and others who made suggestions!

One category that fans back then might have wanted to vote for that really isn't considered much by Hugo voters today is anthologies, and there is little doubt that Adventures in Time and Space, edited by Raymond Healy and J. Francis McComas; as well as The Best of Science Fiction, edited by Groff Conklin, each landmark anthologies of short fiction, were the favorite SF books of that year. In addition, 1946 marked the first book publication of two exceptionally popular novels (neither of which have really retained their reputation at this late date): Slan, by A. E. van Vogt; and The Skylark of Space, by Edward E. Smith and Mrs. Lee Hawkins Garby. I should also mention that there were some significant SF movies that year, the best of them likely A Matter of Life and Death (aka Stairway to Heaven), directed by Michael Powell and Emeric Pressburger, and starring David Niven and Kim Hunter.

Novels:

Titus Groan, by Mervyn Peake

The Unfortunate Fursey, by Mervyn Wall

Mistress Masham's Repose, by T. H. White

The Angelic Avengers, by "Pierre Andrezel" (Karen Blixen)

The Murder of the U. S. A., by Will F. Jenkins (better known to SF fans as "Murray Leinster")

It seems clear to me that Titus Groan is the major work here, the one best known these days. The Unfortunate Fursey is an interesting alternate choice, I think. Very darkly funny, a satirical look at Irish life and the church in particular, set in the 9th century. Mistress Masham's Repose is a very fun "YA" book. The Angelic Avengers is a curious possibility -- it reads to me like historical fiction, but there are some strange happenings that you can squint at and call fantastical. 

Note that I list nothing from within the genre. (Even the Jenkins novel was marketed as a mystery, and first published in Argosy (hence the use of his real name.)) None of the novel length things from the magazines are familiar to me, to be honest. Does anyone know enough about, say, "Slaves of the Lamp" by Arthur Leo Zagat? Or "Pattern for Conquest", by George O. Smith? Or "The Fairy Chessmen", by Kuttner and Moore? (The latter is a long novella but would be eligible as a novel.) 

Novellas:

"The Chromium Helmet", by Theodore Sturgeon (Astounding, June) 

"The Last Objective", by Paul A. Carter (Astounding, August)

"Special Knowledge", by A. Bertram Chandler (Astounding, February)

"Lorelei of the Red Mist", by Leigh Brackett and Ray Bradbury (Planet Stories, Summer)

"The Blast", by Stuart Cloete (Collier's, April)

"Metamorphosite", by Eric Frank Russell (Astounding, December)

I'm not sure which of these to choose. My real preference would be to reclassify "Vintage Season" here! "The Chromium Helmet" is an intriguing piece about technological pyschological changes with a strong human story at its center -- but it leans too heavily into meaningless tech jargon. Had Sturgeon written it a decade later it would have been half the length and twice as good. The Brackett/Bradbury story (finished by Bradbury after Brackett left for Hollywood) is actually rather disappointing. This is, really, a set of good but not great stories.

Novelettes:

"Evidence", by Isaac Asimov (Astounding, September) 

"Rescue Party", by Arthur C. Clarke (Astounding, May)

"A Logic Named Joe", by "Murray Leinster" (Will F. Jenkins) (Astounding, March)

"Daemon", by C. L. Moore (Famous Fantastic Mysteries, October)

"Vintage Season", by "Lawrence O'Donnell" (C. L. Moore) (Astounding, September)

Other possibilities:

"This is the House", by "Lawrence O'Donnell" (Henry Kuttner and C. L. Moore) (Astounding, February)

"Dead City", by "Murray Leinster" (Will F. Jenkins) (Thrilling Wonder, Summer)

"The Toymaker", by Raymond F. Jones (Astounding, September)

"Hobbies", by Clifford D. Simak (Astounding, November)

"Vintage Season" is the runaway winner here. One of the greatest SF stories of all time -- a beautifully written and quite powerful story about a man who lets his house to a group of strange people -- learning eventually that they are time travel tourists, and that they are fascinated by disasters. It is usually regarded as primarily a C. L. Moore story -- and I agree with primarily -- but it does seem to me that Kuttner also likely had a hand in it. If we move that to novella (at about 17,300 words, it would be eligible) my somewhat sentimental vote would go to "Rescue Party". "A Logic Named Joe" is famous for "predicting the Internet" but people don't quite realize how well Leinster did predict it, from someone looking up how to kill your wife to kids finding porn ... it's a damn good story. "Daemon" is an effective fantasy about a simple man who can see the "souls" of other people (so he thinks). "Evidence" is one of the later stories in I, Robot; a good story if not one of Asimov's best.

Short Stories:

"The Million-Year Picnic", by Ray Bradbury (Saturday Evening Post, September 23)

"Placet is a Crazy Place", by Fredric Brown (Astounding, May)

"The Last Generation", by Miriam Allen de Ford (Harper's, November)

"Absalom", by Henry Kuttner (with C. L. Moore) (Startling, Fall)

"Alexander the Bait", by "William Tenn" (Philip Klass) (Astounding, May)

Other possibilities:

"The Machine", by "Allison V. Harding" (Jean Milligan) (Weird Tales, September)

"Rain Check", by "Lewis Padgett" (Henry Kuttner and C. L. Moore) (Astounding, July)

"Memorial", by Theodore Sturgeon (Astounding, April) 

"The Million-Year Picnic" is Ray Bradbury's first great story, the final story in The Martian Chronicles, truly outstanding. A personal favorite. "Alexander the Bait" was Tenn's first sale, and it's good if not great. "Absalom" is a pretty powerful Kuttner story (probably in collaboration with Moore.) "The Last Generation" was presumably not widely noticed in the SF field until its reprint in F&SF in 1950, but it's an impressive piece, more a philosophical meditation than much of a story. "Placet is a Crazy Place" is a well-known story about a very strange planet, and "Absalom" is a powerful story about successive generations of "supermen". 

I thank Michael Haynes for uncovering "The Machine". The story of "Allison V. Harding" is interesting in itself: Jean Milligan married Lamont Buchanan, who became an Associate Editor at Weird Tales under Dorothy McIlwraith, and all her stories were sold to either Weird Tales or another McIlwraith magazine, Short Stories. Her reputation is uneven. Some have suggested that the stories were actually written by her husband, who published several nonfiction books -- I find the evidence for that unconvincing though it's not impossible. The two lived frugally and rather reclusively, Jean dying in 2004 at 85, and Lamont living until 2015. At his death he left a fortune of some $15,000,000. (Both the Milligan family and the Buchanan family were wealthy -- it wasn't the Allison Harding stories and the Lamont Buchanan books that made their money!) Buchanan was also one of the few people to interview J. D. Salinger, though his interview was in 1940, long before Salinger's success.

Old Bestseller Review: Mistress Masham's Repose, by T. H. White

Old Bestseller Review: Mistress Masham's Repose, by T. H. White

by Rich Horton

T. H. White (1906-1964) is of course primarily -- almost exclusively -- remembered for The Once and Future King, his brilliant tetralogy (or single novel) aboout King Arthur. But he wrote a great deal, including two science fiction novels in the 1930s (Earth Stopped and Gone to Ground.) He wrote the first three parts of The Once and Future King (The Sword in the Stone, The Witch in the Wood, and The Ill-Made Knight) in the late '30s and early '40s, but just after the war he produced this delightful children's book, Mistress Masham's Repose. It was first published in the US in 1946, and the next year came out in the UK. (The Once and Future King was published in full in 1958, with the first and second sections much revised (and the second retitled The Queen of Air and Darkness) and a new fourth section added, The Candle in the Wind. There is a pendant, The Book of Merlyn, written in 1941 but not published until 1977.) 

My copy of Mistress Masham's Repose appears to be a true first edition. (Not that that is impressive -- the same book in the same condition runs about $10 at Abebooks.) It is inscribed "Vera and Gene Brown. Oct. 1946." The illustrations are by Fritz Eichenberg. (I called this an "Old Bestseller Review" -- I doubt this was a true bestseller, but I think it was very well-received from the beginning.)

The story concerns Maria, a 10 year old girl living on a decaying estate, Malplaquet, in Northamptonshire. She is an orphan, and her guardians are an extremely unpleasant pair, Miss Brown and the Vicar. The two of them are conspiring to steal Maria's inheritance; and in the mean time are abusive, and are embezzling from her. One day while the Vicar and Miss Brown are malingering (a common event) she takes advantage of her freedom to take a boat on one of the little lakes or ponds on the estate, and comes to a tiny island. She goes ashore, and with difficulty reaches a structure (a folly) on the island, and while poking around she sees a tiny person. Fascinated, she picks the little woman up and decides to take her home, as sort of a doll, despite the fierce resistance in the form of tiny pinpricks from a tiny man ... Back in her room, the little woman refuses to be fed and refuses to cooperate, and Maria takes her to her only friend (besides the Cook): the Professor, an aging Latin scholar. The Professor immediately rebukes her -- surely she must realize that these little people have as much right as anyone for liberty, and he urges her to return the little woman to her home.

Eventually, Maria reluctantly agrees, and takes the woman back to the island. She hatches a plan to benefit the islanders -- there are a few hundred -- and after some suspicion, they start to accept her. But her clumsy attempts to help, and her desire to be praised for that, backfire as well, and the Professor urges her again to understand that these are independent agents, and know best how to live their lives. (He uses the Cargo Cult story as a bad example.) By now they have found out that these little people are Lilliputians, brought to England by a sea captain who had rescued Gulliver and knew their location. The captain had planned to make a fortune exhibiting them, but the Lilliputians were happily able to escape and make their way to this now neglected small island. 

The rest of the plot revolves around the danger of the Lilliputians being discovered by Miss Brown and the Vicar, who will doubtless exploit them much as the captain had planned. In addition, they are increasing their pressure on Maria, hoping to find a way to extract all of her inheritance, either by killing her (by accident, of course) or by finding the document establishing her title and altering it. Maria and the Professor and the Lilliputians end up cooperating to mutually save themselves and to send Miss Brown and the Vicar to their deserved fate. All this is intriguing enough (though some of the action is a bit overdone, even tedious): daring escapes and heroic Lilliputian treks across the dangerous miles (as it seems to them) of the estate, with dungeons and vile punishments and locked rooms etc.

The real joy, though, at least for an adult reader, is the comical asides. The Professor is the ur-Absent Minded Professor, obsessed with figuring out the meaning of obscure Latin words. The Cook is a sweet old lady with her own ideas about treatment of little girls. There is a Lord Lieutenant obsessed with horses who gets an extended comic segment involving the various toy horses he uses to dispense his cigars and candy etc. The various Lilliputians are nice individuals with their own comic aspects. And there are constant hilarious references to the history of the estate, and the many famous individuals who stayed there. (Those alert to English history will recognize allusions to, for example, the Duke of Marlborough (for example, one of Marlborough's great victories was at the Battle of Malplaquet. My actual knowledge of Marlborough is mostly derived from Thackeray's Henry Esmond, and may be distorted, as Esmond (and presumably Thackeray) disliked him.) This is a book I think I'd have loved had I discovered it as a child; and that I greatly liked discovering it late in life.

Review: Finder, by Suzanne Palmer

Review: Finder, by Suzanne Palmer

by Rich Horton

Suzanne Palmer has been publishing short fiction since 2005, and, curiously perhaps for an American writer, she first made her mark with stories for Andy Cox's magazines in the UK (Interzone and Black Static) and for the Australian publication Andromeda Spaceways Inflight Magazine. I first noticed her with the Black Static story "Zombie Cabana Boy" in 2010, which won me over despite being about perhaps my least favorite horror trope. She has been publishing more widely in the last decade, with stories both thoughtful and full of adventure and action; and she has a Best Novelette Hugo for "The Secret Life of Bots".

Finder was her first novel, from 2019. It has spawned two sequels (Driving the Deep (2020) and The Scavenger Door (2021)), neither of which I've read. I will say that Finder is a perfectly successful standalone; though its protagonist is clearly, on the first hand the sort of character who could be the driver of an entire series, and on the second hand, one who has a personal situation that could drive a more tightly connected set of books with a true narrative arc. I read the book by listening to the audio version. The narrator is Joe Hempel. (I will likely misspell some names, or forget some, in the review -- a hazard of reading by listening. Also, there is a map in the printed book, which might have helped!) 

This main character is named Fergus Ferguson. He was born on Earth in a climate-ruined future, and after a fraught childhood in flooded Scotland, escaped to Mars as a teen. He became an accidental hero of the Martian resistance in a losing fight, but having lost his closest friend, a combination of survivor guilt and perhaps some PTSD led him to keep escaping, it seems; and his current job is to find things; wherever they might be in the human occupied Galaxy. This Galaxy appears to be the fairly typical sort we see in a lot of SF: connected by wormholes of some sort, with planets and space habitats scattered widely, some home to humans, others to a variety of alien species. 

Fergus has come to Cernekan, a loose collection of different types of space-based habitats, in search of Venetia's Sword, a spaceship which was stolen by a criminal named Arum Gilger. On arrival, he meets a woman named Mother Vahn, and learns quickly that she and Gilger are enemies ... and almost immediately their transport is sabotaged, and Mother Vahn is killed. Fergus manages to escape and is rescued by the rest of Mother Vahn's family, who appear to be clones. Fergus learns -- despite the fierce suspicions of some of the Vahns, especially the teenager Mari, that Cernekan is politically divided into roughly five power centers: the Governor, the "Wheels" (which is to say, the habitats where the Vahns (lichen farmers) and the arms dealer Harcourt live), the medical satellite, the criminal organization running the mines, and Arum Gilger's upstart criminal group. (There are also the mysterious Shielders, who live in the sunshields that control solar radiation for Cernekan, and are very reclusive.) The Vahns somewhat reluctantly trust Fergus, believing that his mission to recover the stolen spaceship puts him on the same side as them, who want Gilger stopped.

The novel's pace is extremely rapid, with neat action segments following each other relentlessly. It soon becomes clear that Gilger is making a play for control of Cernekan. He's a sociopath, and his chief henchman, Bor Graf, is even more clearly a psychopath, given to murdering people (especially Vahns) on a whim. Gilger has formed an alliance with the miners, with the aim of destabilizing Cernekan. Fergus begins to take actions in support of the other side (basically the Governor and the Wheels) with help from Harcourt (another ex-Martian) and (reluctantly) Mari Vahn. Full scale war breaks out, and it soon is clear that Gilger is winning. But Fergus is able to do some good (taking Venetia's Sword out of action is one thing) until Harcourt's daughter on Mars is kidnapped by Gilger's thugs, and the price for her life is that Harcourt stay out of the battle. All may be lost ...

I've not mentioned a key outside factor -- the alien Asiig, who have lurked near Cernekan for decades, occasionally taking a person, and either not returning them, or returning them much changed. It's clear to the reader that the Asiig will eventually play a key role. And, indeed, that is one of a couple of quibbles I had with the book -- the Asiig's actions have a certain deus ex machina feel. My other quibble is one I have with many novels these days -- the bad guys are so bad, so sneeringly, pyschopathically horrible, that they stretch belief. Moreover, one has to ask -- what kind of polity would tolerate an Arum Gilger -- or especially a Bor Graf -- for any period of time? Really, one comes to the conclusion that Cernekan is a pretty dreadfully flawed society.

At any rate -- the novel is still a very enjoyable read. As I said, the pace is headlong, and well-maintained (though a side trip to Mars perhaps is a bit of a distraction.) At first it seemed set up to be rather light, a caper novel; but it's not. Fergus has his own troubled backstory, and the novel itself is a war novel, with a pretty extreme body count. But it's still a good deal of hectic fun, with some very clever plotty bits, and some nice humor mixed throughout. It's a first novel, and I'd say that shows, but it's a good first novel, and I'm definitely going to be checking out the sequels.

Review: The Hieros Gamos of Sam and An Smith; and Queen of the States; by Josephine Saxton

The Hieros Gamos of Sam and An Smith; and Queen of the States; by Josephine Saxton

a review by Rich Horton

I recently reviewed Josephine Saxton's Vector for Seven, so I won't rehash the potted bio I did then. Suffice it to say that Saxton was a significant figure in the English SF New Wave of the late 1960s (though she never appeared in New Worlds, and in fact F&SF was her primary short fiction market.) I say that, yet I think her fiction so individual that she should be thought of as a writer with her own vision, who was associated with the New Wave because at that time that seemed the proper home for anyone as strange as she. Here I've considered her first (and likely still best known) novel, and also one of her last, perhaps her last full length novel.

Her first novel was The Hieros Game of Sam and An Smith, which was published by Doubleday in 1969. Doubleday published her first three books in three consecutive years, no further books appeared until 1980. And on the face of it none of her novels seem likely to have been big sellers to the SF audience. Doubleday at that time relied heavily on library sales, and I sense that they could sell a reliable quantity of any book they could slap an SF label on. That allowed them, perhaps, to take risks that other firms might not. It also sometimes put a cap on the exposure of their books. At any rate, only Saxton's first Doubleday novel got a paperback reprint, from the fairly low end publisher Curtis Books. (None of this, I add, should imply that they are not good books!)

The Hieros Gamos of Sam and An Smith opens with a boy of about 14 wandering what seems an entirely deserted landscape. There are apparently a very few other people somewhere, who he avoids, and there is trash visible. Sometimes, it seems, he can scrounge food or clothing from places. For an SF reader, the immediate thought it that he is a survivor of some apocalyptic event. (We learn that Saxton has very different plans for us!) The boy hears a sound, and against his better instincts he investigates, and finds a dead woman, with an apparently newborn girl. The boy tries to make himself leave -- he knows this is the safest course -- but eventually takes the infant, drawn by her cries, and takes her with him, trying to comfort her. Soon he must feed her, and after much distress finds some cans of condensed milk. And so he begins walking again, with the baby in his arms. So far, so post-apocalyptic!

But their next stop is a town, still seemingly empty, but full of stores -- well-stocked stores, but empty of people. The two end up in a sort of department store, where the boy finds food for the baby (and for him) and clothes, etc. And occasional hints of a mysterious other. They hole up in the department store for some four years, the boy raising the baby as best he can, with apparently unlimited necessities available in this store. Then they set out walking again. And the novel continues ... an ongoing journey, a story of growth. The boy teaches the girl to talk and she learns about the world as best she can by asking him questions. Their walking takes them through a series of still curiously empty places, but full of what seem typical 1960s English structures. They give each other names (Beryl and George.) And the time comes when they must decide what do with their lives, together or apart. They must, in essence, grow up, perhaps? I won't say how it ends (and if you don't know what the title of the novel means, don't look it up until after reading the book.) But it's effective, and moving, and the very end is -- not perhaps what we expect.

It's hard for me to quite describe how strange, how unexpected, this novel is. It never goes where one expects. It is also often quite funny (Saxton is always funny) -- not laugh out loud funny, not sitcom stuff, but slyly funny. It's also sweet, and powerful, and oddly mesmerizing.

Queen of the States (The Women's Press, 1986) is a very different novel, but shares some of the same weirdness I find in The Hieros Gamos of Sam and An Smith (and for that matter in Vector for Seven.) It opens with Magdalen Hayward having left her husband Clive, driven off somewhere remote, to consider her new life, or a return to Clive. She gets out of her car and -- is sucked up into an alien spaceship.

On the spaceship she wakes to find the very odd aliens communicating with her, about the simulacra they have made of a room for her, some food, etc. It seems she is an object of study, very interesting to them. And they are willing to make her whatever she wants -- another room, great food, even, eventually, other people. (But not her cherished toy bear.) 

And then we are told (unreliably) that Magdalen is in an asylum, having committed herself, presumably due to stress resulting from Clive's cheating, and his generally erratic behavior. The nurses there are cruel, the other patients generally batty, and Magdalen is soon considering leaving. Of course, when she leaves she will return to the White House, and her role as Queen of the United States.

And the novel, in short chapters, zigs and zags from reality to reality. We are often in Magdelen's POV but we also have scenes with Clive, with his student/lover, with another patient, with a couple of Magdalen's lovers (in the past? present? or in another reality?) And also we see the POV of a psychiatrist, who seems to be treating at times both Magdalen and Clive's young lover. The psychiatrist also has an experience with a UFO, and soon is trying to write a book that will revolutionize his field. Magdalen contemplates leaving the asylum, or leaving the aliens, or confronting Clive ...

It's a wild enough ride, and it never takes itself too seriously. It never commits to the truth of any of the suggested realities. It's quite funny, in a noticeably Saxtonian way. It's got the same sort of extra-real affect that the other two Saxton novels I've read have. I don't want to suggest it's weird like, say, Robert Shea Wilson. It's a very grounded weird, a very real-seeming weird. It didn't work as well on the whole, for me, as either Hieros Gamos or Vector for Seven, perhaps because it was never quite as involving, and never quite as moving, as those books. But I'm glad I read it. 

Alternate Hugo Nominations of the 1950s

This post organizes links to all 11 posts I made on potential or alternate Hugo nominees, and winners, for the years 1949 through 1959. I should note that I have made some revisions, often significant (adding a story or two in some cases, fixing typos and other mistakes, and adding a lot of additional possibilities to the post about stories from 1957.)

In each case the title refers to the year of the convention at which the Hugos would have been (or actually were) awarded, so the stories are from the prior calendar year. 

I will note that where possible I've referred to the excellent work done by Jo Walton in her book An Informal History of the Hugos, and also to Richard Lupoff's What If? anthologies, which chose one potential alternate Hugo winner for each year from 1952 through 1973.

Hugo Nomination Recommendations, 1950

Hugo Nomination Recommendations, 1951

Hugo Nomination Recommendations, 1952

Hugo Nomination Recommendations, 1953

Hugo Nomination Recommendations, 1954

Hugo Nomination Recommendations, 1955

Hugo Nomination Recommendations, 1956

Hugo Nomination Recommendations, 1957

Hugo Nomination Recommendations, 1958

Hugo Nomination Recommendations, 1959

Hugo Nomination Recommendations, 1960

Hugo Nomination Recommendations, 1960

Potential Hugo nominations for the 1960 Hugos (stories from 1959)

Here's my last planned post on potential Hugo nominees from the past. This is for the 1960 Hugos, for stories from 1959. Thus I close out the decades of the 1950s. Also, I was born in 1959, in October, and so this is a pretty important year for me! (Not that I remember it well!) The 1960 Worldcon was in Pittsburgh. I highlight the actual Hugo nominees and winners below.

I will once again mention Jo Walton's exeptional book An Informal History of the Hugos, in which she discusses the Hugo Awards from 1953 through 2000, including the nominees and potential additional stories to consider. I will also mention Richard A. Lupoff's What If? series of anthologies, which chose a single alternate story for each year (of story publication) from 1952 through 1973. 

Novel:

Time Out of Joint, by Philip K. Dick

Starship Troopers aka "Starship Soldier", by Robert A. Heinlein Hugo winner

The Haunting of Hill House, by Shirley Jackson

A for Anything aka The People Maker, by Damon Knight 

The Sirens of Titan, by Kurt Vonnegut, Jr. Hugo nominee

Other possibilities:

We Claim These Stars! aka "Hunters of the Sky Cave", by Poul Anderson

The Manchurian Candidate, by Richard Condon

Dorsai! aka The Genetic General, by Gordon R. Dickson Hugo nominee

Alas, Babylon, by Pat Frank

First to the Stars, by Rex Gordon

Providence Island, by Jacquetta Hawkes

"The Pirates of Ersatz" aka The Pirates of Zan, by "Murray Leinster" (Will Jenkins) Hugo nominee

The Beast Master, by Andre Norton

"The Sweet Little Old Lady" aka Brain Twister, by "Mark Phillips" (Randall Garrett and Laurence M. Janifer) Hugo nominee

Wolfbane, by Frederik Pohl and C. M. Kornbluth

Level 7, by Mordecai Roshwald

My choice for the Hugo would be Time Out of Joint, one of my favorite Philip K. Dick novels. I don't mind the Hugo for Starship Troopers, however, as I think it an interesting and pretty well done novel (even if I don't approve of the political organization the novel suggests.) I haven't read the Jackson novel but it sure sounds like it is worthy of a nomination. The Sirens of Titan is quite good, too. A for Anything is a decent novel, but not great -- Knight wouldn't really figure out how to write a fully satisfying novel for a couple of decades at least. Based on what I've read about them, very possibly Mordecai Roshwald's Level 7 and Jacquetta Hawkes' Providence Island are also Hugo-worthy, and perhaps even The Manchurian Candidate.

This was the height of the Cold War, and the height of fears of Nuclear War, and that is emphasized by the popular success of out and out "End of the World due to Nuclear War" books like Level 7; Alas, Babylon; A Canticle for Leibowitz; and On The Beach, all published in this time frame. For that matter, Providence Island is about a lost race resisting the use of their island for nuclear tests, and The Manchurian Candidate is surely a Cold War novel to the max!

I list Pohl and Kornbluth's Wolfbane, but a shorter version (perhaps just novella length) appeared in 1957. I was amused to learn, in searching for it in the ISFDB, that the slight variant title Wolfsbane turns out to be a very oft-used title -- at least eight novels and a dozen or more short stories. Note also the two titles with exclamation points -- Dorsai! was the title of the Astounding serial, clumsily retitled, because Don Wollheim, for the Ace Double (which was also abridged.) And Anderson later collected We Claim These Stars! in Agent of the Terran Empire, retitled "Hunters of the Sky Cave" (and possibly revised.) Despite its presence in a collection, it is novel length by my estimate, 45,000 or more words.

Jo Walton suggests that Starship Troopers was going to win against this competition no matter what, and that despite its controversial aspects it's a major novel that has lasted. She hints that she might prefer either Eric Frank Russell's Next of Kin (which I mentioned in the post about 1958 novels in its slightly shorter form as The Space Willies) or Jackson's The Haunting of Hill House.

A couple of novels worth mentioning that don't quite qualify are Psycho, by Robert Bloch, which isn't SF or Fantasy (there's no supernatural element at all), and A Canticle for Leibowitz, by Walter M. Miller, which is a fantastic novel and a very worthy Hugo Winner -- in 1961! It is often cited (for example by the ISFDB) as a 1959 novel, but though it is copyrighted 1959 is was not published until February 1960. (Thanks to Denny Lien for the research that established this.) Likely the publisher originally scheduled it for late 1959 but delayed it until 1960 for marketing reasons (better chances to get reviews, something like that.) Reputedly Algis Budrys was bitter that his great novel Rogue Moon lost the Hugo to A Canticle for Leibowitz, which he thought ineligible due to the 1959 copyright -- but he had no case to complain, as the book really was a 1960 book.

Novella:

"A Handful of Stars", by Poul Anderson (Amazing, May)

"Sister Planet", by Poul Anderson (Satellite, May)

"The Whole Man", by John Brunner (Science Fantasy, April)

"Someone to Watch Over Me", by "Christopher Grimm" (Floyd C. Gale and H. L. Gold) (Galaxy, October)

"The Alley Man", by Philip José Farmer (F&SF, June) Hugo nominee

Another fairly thin novella list. I'd lean towards "The Alley Man" though I haven't read Brunner's "The Whole Man", which I assume is an early version of the novel of the same title -- the novel, at least, is strong work, and if the novella is as good perhaps it would have got my Hugo vote. The Anderson stories are solid work. The Christopher Grimm story is pretty enjoyable -- the Gold brothers (Floyd was Horace's brother, though he used Gale for his SF work, perhaps to avoid accusations of nepotism?) were a pretty strong writing team.

Novelette:

"The Waiting Grounds", by J. G. Ballard (New Worlds, November)

"Take Wooden Indians", by Avram Davidson (Galaxy, June)

"What Now, Little Man?", by Mark Clifton (F&SF, February)

"Jordan", by Zenna Henderson (F&SF, March)

"Flowers for Algernon", by Daniel Keyes (F&SF, April) Hugo winner

"Lean Times in Lankhmar", by Fritz Leiber (Fantastic, November)

Other possibilities:

"Brave to be a King", by Poul Anderson (F&SF, August)

"The Sky People", by Poul Anderson (F&SF, March)

"Despoilers of the Golden Empire", by "David Gordon" (Randall Garrett) (Astounding, March)

"What Rough Beast", by Damon Knight (F&SF, February)

"Wherever You Are", by "Winston P. Sanders" (Poul Anderson) (Astounding, April)

"The Silver Eggheads", by Fritz Leiber (F&SF, February)

"Dodkin's Job", by Jack Vance (Astounding, October)

"Cat and Mouse", by Ralph Williams (Astounding, June) Hugo nominee

Well, my vote for best novelette of 1959 goes to the obvious choice, the same choice the voters in 1960 made for the Best Short Fiction Hugo, "Flowers for Algernon". I will say that "Take Wooden Indians" is one of my favorite Avram Davidson stories; and "Lean Times in Lankhmar" is one of the best Fafhrd and the Grey Mouser stories, and "What Now, Little Man?" is Mark Clifton at his bleak best, and "Jordan" is a major People story (indeed, as I recall, the "First Contact" story in that set) and "The Waiting Grounds" is one of the first J. G. Ballard stories to make a significant impact ... but, yeah, it's "Flowers for Algernon". (Jo Walton also endorsed the choice of "Flowers for Algernon".)

Of the other possibilities, one might note that "Despoilers of the Golden Empire" isn't really SF, though it's a bit of an, er, despoiler to say so. "Dodkin's Job" is uncharacteristic Vance, but it's pretty good. And I confess I know nothing about the Ralph Williams story, though Williams did do some interesting work.

Short Story:

"The Pi Man", by Alfred Bester (F&SF, October) Hugo nominee

"Dagon", by Avram Davidson (F&SF, October)

"Adrift on the Policy Level", by Chan Davis (Star #5)

"All You Zombies ...", by Robert A. Heinlein (F&SF, March)

"The Man Who Lost the Sea", by Theodore Sturgeon (F&SF, October) Hugo nominee

Other possibilities:

"A Man to My Wounding" aka "State of Assassination", by Poul Anderson (EQMM, December)

"The Shoreline at Sunset", by Ray Bradbury (F&SF, March)

"The Distant Sound of Engines", by Algis Budrys (F&SF, March)

"The Man Who Tasted Ashes", by Algis Budrys (If, February)

"The Montavarde Camera", by Avram Davidson (F&SF, May) 

"Angerhelm", by "Cordwainer Smith" (Paul M. A. Linebarger) (Star #6)

"Golden the Ship Was - Oh, Oh, Oh", by "Cordwainer Smith" (Paul M. A. Linebarger and Genevieve Linebarger) (Amazing, April)

"The Clone", by Theodore Thomas (Fantastic, November)

"Plenitude", by "Will Worthington" (Will Mohler) (F&SF, November)

Once again, a slam dunk for me, despite a very strong shortlist. "The Man Who Lost the Sea" is hands down one of the greatest SF stories of all time. I would have voted for it ahead of "Flowers for Algernon" for "Best Short Fiction" on the 1960 Hugo ballot. That said, "The Pi Man" is brilliant. "All You Zombies ..." is brilliant. "Dagon" is brilliant. I mean, heck, what a shortlist!

Richard Lupoff's choice for an "alternate Hugo" in his What If? series of anthologies was Bester's "The Pi Man". I note, by the way, that F&SF for the month of my birth -- October 1959 -- included three (!) great stories: "The Pi Man", "Dagon", and "The Man Who Lost the Sea".

There is plenty of good stuff in the "other possibilities" too -- notably a first rate Ray Bradbury story, some examples of Algis Budrys at close to his obsessive best, a neat biter-bit story from Avram Davidson, a couple of good early Cordwainer Smith stories, and a solid work by the nearly forgotten "Will Worthington".

Sturgeon's "The Man Who Lost the Sea" was selected for Martha Foley's The Best American Short Stories 1960. Indeed, under Foley's long editorship of that series, only two SF stories from genre sources were reprinted, the other being Judith Merril's "Dead Center" in the 1955 volume. Foley died in 1977, and after that the series had different guest editors each year, allowing, one presumes, a more diverse, more varied, perspective, and increasing the likelihood of genre pieces being selected. Offhand, I can think of four such stories making it: Harlan Ellison's "The Man Who Rowed Christopher Columbus Ashore" in the 1993 volume (guest editor Louise Erdrich); two from the 2005 volume, guest edited by the notoriously SF friendly Michael Chabon: Tim Pratt's "Hart and Boot" and Cory Doctorow's "Anda's Game"; and Ted Chiang's "The Great Silence" from the 2016 volume, edited by another SF friendly writer, Junot Diaz. (Very possibly other SF/F stories have been chosen as well in recent years.) Note that there were occasional fantastical stories from traditional literary publications in the series all along, though not, I think, very many. But Karen Russell, for example, has appeared several times, with distinctly fantastical stories -- but always from publications like Granta and the New Yorker.