Thursday, March 8, 2018

Two Obscure Ace Doubles (Treibich/Janifer, Chandler, Jakes)

Ace Double Reviews, 1: The Rim Gods, by A. Bertram Chandler/The High Hex, by Laurence M. Janifer and S. J. Treibich

Steven J. Treibich was born on March 8, 1936, and died very young in 1972. This would have been his 82nd birthday, so, in his memory, I'm publishing these reviews I did long ago two of his Ace Doubles. The Rim Gods/The High Hex was, in fact, the very first Ace Double review I ever did, back in 2003 on the Usenet newsgroup rec.art.sf.written; and Tonight We Steal the Stars/The Wagered World was the second. I never did get around to Target: Terra (backed with John Rackham's The Proxima Project).

Treibich published one short story and three short novels, all in collaboration with Laurence M. Janifer. I know nothing more about him. Laurence Janifer had an SF career spanning 50 years. He was born Larry Mark Harris (or perhaps Laurence Mark Harris), and changed his name to Janifer (his Polish grandfather's name) in 1963. He used Harris as his byline until that name change. He had a short story in the rather obscure magazine Cosmos in 1953, when he was 20. His real career started in 1959, with a few stories in places like Astounding and Galaxy, under the name Larry M. Harris; and with the first of three collaborative novels with Randall Garrett, under the joint pseudonym Mark Phillips; and with another collaboration with Garrett, published as by Larry M. Harris and Randall Garrett, the vaguely soft-porn SF novel Pagan Passions. Janifer's stories were often amusing -- his main mode is comic. His best known series by far, comprising five novels and many short stories, is the Survivor series, about "Gerald Knave, Survivor", a man whose job is to go to newly opened planets and survive, in so doing discovering and perhaps fixing the particular dangers. Janifer died in 2002, aged 69.

This Ace Double was published in 1969. It's reasonable to suppose that the Chandler "novel" was the primary half -- Chandler had a bigger name than Janifer or certainly Treibich (and indeed his name appeared in much bigger print on the cover) and The Rim Gods is the longer of the two halves. The Rim Gods is about 50,000 words long, The High Hex about 35,000 words.

A. Bertram Chandler (1912-1984) was born in the UK. He spent a long time in the Merchant Navy, first in the UK, and since 1956 in Australia, and his naval background is evident in his stories. His first story appeared in Astounding in 1944, and he continued publishing until his death. The great bulk of his novels concerned Commodore John Grimes, a spaceship commander.

The Rim Gods is presented as a novel, but in fact it is a fixup of four novelettes. The stories are related in that they are all about Chandler's main hero, Commodore John Grimes of the Rim Worlds, and in that they are presented as happening sequentially while Grimes is on an unplanned mini-tour while his wife is away on a vacation of her own. However, they are all pure standalone episodes, complete in themselves. The front matter claims that the "four Parts of this book appeared individually during 1968 in Galaxy magazine". That is not actually correct -- they appeared in Galaxy's sister magazine, If. They did not appear as parts of a serial but as separate novelettes, and not in consecutive issues (but in four out of five consecutive issues). The four stories are of very similar length, each between 12,000 and 13,000 words. I don't know if the stories were revised for book publication, to add the very flimsy connective tissue -- it wouldn't surprise me if they were, however.

Part One was published in the April 1968 If as "The Rim Gods". A group of religious nuts come to Grimes's planet, seeking to establish a new "Sinai" on an abandoned planet to which they believe they can attract God, with the help of an apostate member of their sect. This member happens to be a) a telepath, b) a drug user, and c) a very beautiful woman. Grimes goes along to observe, making sure they don't ruin the planet, and so he witnesses the rather unexpected results of their attempt to attract their God.

Part Two was published in the June 1968 If as "The Bird-Brained Navigator". Grimes visits a planet run by a tolerant bunch of priests, whom he had earlier helped overthrow some robber barons. An incompetent spaceship navigator, realizing his career is likely over when Grimes prepares to set things straight on his ship, tries to escape by sailing ship to the enclave of the robber barons, with the help of a beautiful alien woman. Grimes manages to get aboard the escaping ship and make use of the incompetent navigator's incompetence in foiling his plans.

Part Three was published in the December 1968 If as "The Tin Fishes". Grimes is sent to a water planet, where the local economy being ruined by a plague of mutated starfish. He tries to figure out what's going on while fending off (or not) the advances of a beautiful but dangerous woman. Explicitly James Bondian, as mentioned in the story itself.

Part Four was published in the August 1968 If as "Last Dreamer". On his way home, Grimes encounters an anomalous planet in empty space. Investigating the planet, he finds that he is compelled to talk in rhyme, and to act out a puerile fantasy based on a fairy tale involving rescuing a sleeping princess. Two beautiful women are involved, at least one of them a seducer. The explanation for all this is implausible but kind of cute.

Basically, these are light space opera, and generally enjoyable but not lasting stories. The Rim Worlds are set up to be a nominally SFnal setting but to be hospitable to basically fantastical events occurring -- on the Rim, the fabric of space-time is stretched thin, it is said. I find that offputting but if you just let things flow the stories do pass the time.

(Incidentally, these are part of a long series, and Grimes is supposed to be faithfully married to Sonya at this time -- presumably their courtship occurred in an earlier story. In these stories, amidst much temptation, he only backslides once -- with an indication that he does so only for duty's sake (not that he doesn't enjoy it).)

The High Hex is the second of three novels by Janifer and Treibich. Janifer published a number of stories and novels in a career that lasted from the 50s until his death last year. His most famous stories were about his continuing character Gerald Knave, Survivor -- indeed, three Knave novels have been published by Wildside in the past few years. (That is, the early 2000s.)

The three novels were all parts of Ace Doubles, and I'll get to all three eventually.  (After I read the other halves of their respective Doubles.) The first one was Target: Terra (1968), the third was The Wagered World (1969). They all feature as main character Angelo di Stefano, as of the first book the Intelligence Officer for U. N. Space Station 1.

In the first book Space Station 1 went nuts, and there was a threat that it would blow up the Earth. Angelo eventually figured out what was going on and saved everything, but SS1 was destroyed in the process, putting him out of work. In The High Hex, the other Space Station, #2, which is jointly run by Africans and Haitians (I found the book's presentation of Africans to be rather on the racist side, actually), has been taken over by the African contingent, which is threatening once again to blow up the world. The crew of SS1, augmented by an English-educated witch doctor, head back up to SS2, where they must attempt to use the witch doctor's psychological abilities to "hex" the SS2 crew and stop their nefarious plans. Unfortunately, this effort is interrupted by an invasion of alien robots, who start consuming all the metal on earth to make copies of themselves. Angelo must come up with a way to save the Earth, with the unwilling help of his machine-loving fellow crewman Chris Shaw. He does, naturally, though it seemed to me that technological civilization was pretty much kaput due to the robots eating all the metal before the end of the book.

The main problem with both these books is the very ad hoc nature of the plot. The authors just make silly things up as they go along, and none of the science even remotely makes sense. The only reason to read them is the joky narrative voice, which seems to me to be very much Janifer's voice, very similar to the narrative voice of the Knave books. Thus they can be entertaining as you read along (if you like the voice -- you might just think it's stale), but the whole thing doesn't hold together at all. In sum -- forgettable.

Ace Double Reviews, 2: Tonight We Steal the Stars, by John Jakes/The Wagered World, by Laurence M. Janifer and S. J. Treibich (#81680, 1969, $0.75)


John Jakes became famous (and presumably rich) in the mid 70s when he was hired to write the Kent Family Chronicles, a series of historical novels set in the US during and after the Revolutionary War. The release of these paperback novels was timed to coincide with the Bicentennial celebration. The books had titles like The Bastard, The Furies, and The Americans. These were huge bestsellers at the time, a real phenomenon. They were later made into a couple of television miniseries. Jakes later published a Civil War series, North and South (also made into a miniseries), and he has continued to publish historical novels with some success.



Before the Kent Family Chronicles, however, he was pretty much an old fashioned pulpster, perhaps one of the last. According to his home page, he published over 200 short stories and 60 novels: mysteries, westerns, and science fiction. I recall seeing his novel On Wheels, about people who live in their cars all the time -- this might have been his best known SF novel. He also published a series of Conanesque books about Brak the Barbarian. A few of his SF short stories gained praise, such as "The Sellers of the Dream", anthologized in the Amis/Conquest Spectrum series. But for the most part, he seemed to be regarded as a competent hack, nothing special but a solid professional. Tonight We Steal the Stars is noticeably long for an Ace Double half at 67,000 words. The front matter notes that it is the third in a series about "II Galaxy", apparently a new galaxy (or perhaps the Milky Way redesignated). The previous two novels of the series, When the Star Kings Die (1967) and The Planet Wizard (1968), were published by Ace but as single books. On internal evidence, I would guess the three books share only the setting, each standing alone as to plot and main characters. According to a prologue, 9000 years previously interplanetary civilization fell, but was reconstituted from the wreckage by houses with names of transparent (and highly implausible) derivation: Xero, Ibym, Genmo, Gullffe, and so on. These houses, ruled by the Lords of the Exchange, still rule the Galaxy. They each control certain special products/services, such as transportation in the case of Genmo.

This book is about Wolf Dragonard, a respected Regulator (or cop) for the Genmo family, who is recovering, not well (he's developed a drinking problem), from the death of his wife. He has a sympathetic boss but a sadistic and ambitious underling. The latter schemes to cost him his job, and after an incident the boss maneuvers a vacation/rehab interval on a seedy resort planet. On this planet Wolf encounters a mysterious woman, who seduces him and in the process lets slip some information about a plot to steal the "Stars", the jewels which symbolize the various stars ruled by Genmo. However, things get confusing when Wolf tries to track down the villa where he spent a weekend with this woman -- it had disappeared!

Wolf convinces his boss to send him to the planet Wheel, which is controlled by a former Genmo engineer, who has set up a competitive transportation company. It is on Wheel that the beautiful thief Jenny Sable has been found -- and she is the supposed ringleader of the plot to steal the Stars. Wolf manages to infiltrate Jenny's group, but then things get more complicated. He learns something that makes him suspect Jenny is being set up to fail. He has further doubts about the source of his own information, and about the safety of his boss. And, natch, he begins to fall in love with Jenny.

The resolution involves a fairly exciting breakin sequence, plenty of angst and loyalty stretching for Wolf, and a couple of not too illogical twists. It's by no means a great book, or even, really, good, but it is fairly fun. The ending flattens out just a bit. Certainly the plot in general has a couple of holes. The overall setting is unconvincing. The prose is mostly competent, with a couple of horrible lapses, such as mixing up "infer" and "imply". I think the title is a neat pulp title, and the revelation that "stealing the stars" is just jewelry theft is a bit of a letdown. Not a lasting book, by any means, but a book which basically delivers on its implicit promise -- a couple of hours of fairly mindless entertainment.

The Wagered World is the third and last of Janifer and Treibich's books about Angelo di Stefano, former Intelligence Officer for UN Space Station 1. This is the shortest of this series, the least well structured -- and I think I like it the best.

The story opens with the crew of Space Station 1, including in particular Angelo and his presumptive love interest, ecologist Juli Dental, crashlanding after the destruction of Space Station 2, and the vanquishing of an invading group of alien robots. (See The High Hex.) The open section briefly details the crew's problems in convincing the world's computer system that they are alive even though they were declared dead when their incoming rocket crashed.

The next section sees Angelo and Juli sent on a mission in a hastily cobbled together hyperspace ship, sent to backtrack to the source of the invading robots, in the fear that the real purpose of the robots was to soften up Earth for a follow-on invasion. The two find themselves at a cocktail party featuring the 647 races of the Intergalactic Council, and they also learn that yes, an invasion of Earth is planned. Angelo plays a gambling game, and wins an alien companion.

Upon their return to Earth, they are accused of treason (for consorting with the aliens who are about to invade) and rape (for no very clear reason at first). The third section is basically a courtroom drama which ends in Angelo unconvincingly convincing the invading aliens not to attack and instead let Earth join the Intergalactic Council.

All this makes basically No Sense At All. But the breezy manner of the telling, and the cheeky imagination (especially in the middle section), and perhaps especially the briefness of the tale, make it an enjoyable if very minor book.



Thursday, March 1, 2018

Old Bestseller: The Thirty-First of June, by J. B. Priestley

Old Bestseller: The Thirty-First of June, by J. B. Priestley

a review by Rich Horton


J. B. Priestley (1894-1984) was once an immensely popular figure in English culture, best known perhaps for his plays (perhaps most notably An Inspector Calls), but also an important popular critic, and a radio broadcaster, and a novelist. His 1930 novel Angel Pavement was #5 on that year's list of US bestsellers as reported by Publishers' Weekly. His 1929 novel The Good Companions won the James Tait Black award. And for all that he seems almost utterly forgotten today.

As the (as ever illuminating) entry on Priestley in the Science Fiction Encyclopedia notes, a great deal of his work was at least somewhat Science Fictional or Fantastical in nature. Much of it was informed by J. W. Dunne's extremely influential An Experiment With Time. The novel at hand, The Thirty-First of June (1962) is a lighthearted example: it's an Arthurian Fantasy, sort of, based in part on the idea (which I believe is found in Dunne's work) that somewhere in the universe even fantastical ideas must be actualized. It's very short (perhaps 35,000 words). It's illustrated by John Cooper.

One 31st of June, in the Kingdom of Peradore, a neighbor to Arthur's realm, the Princess Melicent is obsessed with a young man she's seen in a magic mirror, named Sam. Meanwhile in our world, in 1961, Sam is an artist for an advertising agency. He has seen a vision and used her as a model for a stockings ad. But he's wholly disillusioned with his job. Priestley here goes in for a lot of "get off my lawn" sort of commentary/satire on the modern urge to "progress". ("Owing to the deplorable lack of progress in Arthurian England, it was all very peaceful" ...)

Melicent's father is opposed to her marriage to someone as lowborn as Sam. And there are two wizards involved, the good Malagram and the bad Malgrim. Both want a magic brooch. Malagram agrees to bring Melicent to Sam in his world, while Malgrim, along with Melicent's saucily wicked Lady-in-waiting Ninette, conspires to bring Sam to Peradore. This leads, of course, to a lot of hijinks, with Sam thrown in the dungeon, and Melicent making rather an impression as a guest on a TV show.

A salesman, as well as Sam's boss, also end up in Peradore, and soon they are enchanted into becoming a Knight and a Dragon for Sam to overcome in order to earn Melicent's hand. And Malagram and Malgrim keep up trying to foil the other's schemes ... But perhaps there is a compromise available? After all, surely there is money to be made turning Peradore into a tourist destination?

It's all really rather silly, but silly in just the way we expect. And it manages, despite the "get off my lawn" vibe, to be really pretty funny, especially in the scenes in a bar, with Sam and the barmaid and the salesman Captain Plunkett. The tone throughout is bubbly fun. It may have been aimed at the YA market, though I'm not entirely sure -- I think it's plenty entertaining for adults.

(As it happens, it was made into, of all things, a Soviet Era TV show, called 31 June, starring among others, Alexander Godunov.)

Thursday, February 22, 2018

Another Forgotten Ace Double: Vanguard from Alpha, by Brian W. Aldiss/The Changeling Worlds, by Kenneth Bulmer

Ace Double Reviews, 110: Vanguard from Alpha, by Brian W. Aldiss/The Changeling Worlds, by Kenneth Bulmer (#D-369, 1959, 35 cents)

a review by Rich Horton

I've written about both these writers before, and so I'll reproduce what I wrote:

Aldiss was born in 1925 to working class parents (his father a draper, his mother's father a builder). He was educated at Framlingham College and West Buckham School, and spent part of the Second World War in Burma. He worked at a bookseller after the War, and his first book was a lightly fictionalized account of a bookstore. He was an SF reader from an early age, and at the same time he was publishing his first mainstream book he was publishing his first SF stories in the magazines. Throughout his career he did distinguished work in SF and in mainstream fiction. I have found his work immensely enjoyable, and very varied in tone, style, subject matter, and structure. He also wrote a few memoirs, and I enjoyed the most complete of those, The Twinkling of an Eye, very much indeed. He won a couple of Hugo Awards, a Nebula, a Campbell, hordes of BSFA awards, and was named an SFWA Grand Master in 2000. He died just this past August, the day after his 92nd birthday.

Kenneth Bulmer, born in England in 1921, was a very prolific writer from the early '50s, under his own name and many others, most notably "Alan Burt Akers", the name under which he wrote the Dray Prescot series for DAW. He was primarily an SF writer, but also did a lot of work in other genres. He was editor of the New Writings in SF anthology series after the death of John Carnell. He died in 2005.

The novels at hand, I have to say, don't show their authors at their best. (Though Bulmer was never brilliant, so his book isn't as big of a falloff as Aldiss'.) The covers are the typical for that era Two Eds -- Valigursky for The Changeling Worlds, Emshwiller for Vanguard from Alpha.

Vanguard From Alpha was first published in New Worlds for September and October 1958, under the title Equator, which was certainly Aldiss' preferred title, and which was used for the British editions. I don't know if the Ace version differs much from the original serial -- it wouldn't shock me if there's some sex in Equator that was cut from Vanguard From Alpha -- but maybe not!
(Cover by Ed Emshwiller)

Curiously, Aldiss expanded the novel much later (1987), fixing up "Equator", a 1965 story called "The Impossible Smile", and a new novella, "The Mannerheim Symphony" into a book called The Year Before Yesterday. I haven't read that, and I don't know anything about it, but asked some people who have read it, and it's a pretty metafictional thing -- apparently, "Equator" is inserted into the novel by having one of the characters from the rest of the novel read it.

Vanguard From Alpha opens with a trio of men on a mission to the Moon base of the alien Rosk, who have come from Alpha Centauri asking for refuge on Earth. They have been granted an enclave on Sumatra, but there's a lot of distrust of their motives. And strange goings on at the Moon base have resulted in this mission. It goes badly, however -- Tyne Leslie, the protagonist, is shot, and when he wakes from his injuries he finds that one of his fellows, Allen Cunliffe, is dead -- the other man, Murray Mumford, says that he had to shoot Cunliffe.

But Mumford then disappears, and Leslie suspects him of foul play. And indeed he soon learns that Mumford is believed to have intercepted some important information, and is ready to betray the humans to the Rosk. Leslie is warned to leave all this investigation to the professionals, but he plunges headlong into things, and soon is captured by the Rosk, only to be saved from certain death by a beautiful Rosk woman.

It continues at a breakneck pace, Leslie whipsawed between an apparent peace faction among the Rosk, and Mumford's own story, and the reappearance of Allen Cunliffe, and the possibility of an invasion fleet from Alpha Centauri. Not to mention his fascination with Benda, the lovely Rosk woman ...

It's really pretty implausible stuff on pretty much every front (not least the apparent sexual compatibility of humans and Rosk). Aldiss by this time had already published his first significant SF novel, Non-Stop (aka Starship), as well as a successful mainstream book, The Brightfount Diaries -- I'm not really sure what he was up to with this -- just making a buck? Exercising his thriller muscles? His next New Worlds/Ace pairing -- X for Exploitation/Bow Down For Nul/The Interpreter -- is far more serious, far better, even if it too is pretty minor Aldiss.

As for The Changeling Worlds, it struck me as one of those stories where the author is making things up as he goes along, not figuring out what sort of story it will be until maybe halfway through. It's told in two threads. In one, Richard Makepeace Kirby is a bored member of The Set, a decadent group of wealthy people who spend their lives going from world to world and party to party, marrying for a few days at a time except when they buy a baby -- then you have to stay together for a year -- and duelling. Richard and his new wife Molly decide to get a baby, and somehow Richard (and Molly) begin to feel like they might like to stay together for a long time.

(Cover by Ed Valigursky)
In the other thread, John Hassett is on a secret mission to a Black Symbol world called Brighthaven. Black Symbol worlds are proscribed -- the locals are not supposed to know about the wider Galactic civilization, even though they sell their grain to the richer worlds in exchange for heavy equipment. But Brighthaven has decided to cut agricultural production -- and Hassett's predecessor has been murdered. He goes undercover as a tractor maintenance man, and quickly learns that religious leaders have been fomenting hatred of "aliens" (humans from other planets). Soon he is discovered and on the run.

Meanwhile Richard witnesses his brother, a missionary, get murdered at a Set party -- and Molly is almost killed in a duel. He gets an offer to do something with his life -- take a serious job, but that seems silly. Still, he and Molly and another couple hare off on a trip, while Richard decides to find who killed his brother. They also learn something about where their babies come from.

Well, no surprise -- there are wheels within wheels, and a totally crazy economic setup. Plus no rich person ever has a baby the natural way -- instead, babies are another product of the Black Symbol worlds. But the plans of the rabble-rousing priests are dangerous as well ... And of course at the end a sneering evil villain has to pop up ...

For a couple chapters I was kind of intrigued by some of this, but it quickly stopped making any real sense, either economically, or emotionally. You get the sense Bulmer had a notion that his audience deserved some cool ideas -- and he more or less offers those, but without thinking them through well at all. Not to mention some pretty standard '50s era sexism. Really not a very good book at all.

Monday, February 19, 2018

Final 2018 Hugo Recommendation Post


This is a bit of a catchall post concerning the remaining categories. In many of these categories, I don’t really have any choices. This doesn’t mean I don’t think highly of those categories – I do! But I just can’t say much intelligent about any of them. I’ll go ahead and mention the categories anyway, for information’s sake.  

Best Semiprozine

I’ll nominate from the online world Beneath Ceaseless Skies, Uncanny, Lackington’s, and Kaleidotrope, as well as, from the print world, the venerable and still excellent Lady Churchill’s Rosebud Wristlet. Each of these magazines publishes fiction primarily – and excellent fiction. Most of them are pretty well known, but perhaps Lackington’s, edited by Ranylt Richildis; and Kaleidotrope, edited by Fred Coppersmith, deserved special mention because they don’t get quite as much attention.

Neil Clarke maintains a list of eligible semiprozines, here: http://semiprozine.org/semiprozine-directory/. Neil’s list still includes Black Gate, but I believe that’s more appropriately a Fanzine – it does not pay its contributors, John doesn’t make significant money from it I’m sure, and it hasn’t declared itself a semiprozine.

I should add a couple of extra particular mentions: two sites that focus on longer fiction: The Fantasist (edited by Will Waller, Evan Shiloh Adams, and Bernard Foyuth), and Giganotosaurus, edited by Rashida J. Smith.

Best Fancast

I am more or less clueless on podcasts, but I’ll mention one that I’ve enjoyed, and not only because I was the featured guest on one episode: The Literary Wonder and Adventure Show, http://literarywonderandadventure.com/, run by Robert Zseldes ("Robert Zoltan"). I’ll add a long-running and always very good podcast, The Coode Street Podcast, https://jonathanstrahan.podbean.com/, run by Jonathan Strahan and Gary Wolfe. (I was going to be a guest on an episode of that a couple of years ago, but technical difficulties intervened.)

Best Related Work

I have one book to recommend: Paul Kincaid’s Iain M. Banks (University of Illinois Press), a very interesting and illuminating look at the career of a very significant SF and Mainstream writer.

Professional Artist

I am going to mention three new names in this category (nothing against the excellent work of previous nominees and winners such as Julie Dillon, John Picacio, and Galen Dara, who surely still deserve consideration). But these are three folks who did some very nice work and who haven’t previously been nominated.

1.       Kathleen Jennings – I saw two lovely covers from her this year for Small Beer Press books: Telling the Map, and The River Bank. Not traditional SF illustration – which is not at all a bad thing! She has got notice in the past as a World Fantasy Award artist nominee. And she’s a very good writer: I used her story “Skull and Hyssop” in my 2015 Best of the Year volume. A portfolio is here: https://www.kathleenjennings.com/illustrations/.

2.       Gregory Manchess – He was the Artist GOH at World Fantasy this year, and I was really impressed by his work displayed there. He wrote an illustrated novel, Above the Timberline, published in 2017, which I have not read, but, again, the illustrations I’ve seen from it are very good indeed. Samples of his work can be found here: https://www.manchess.com/images/.

3.       Dave Senecal – Senecal did some intriguing covers for Interzone this year, which attracted my attention. A Google search also found some interesting work based on Lovecraft, and lots more stuff, not necessarily SF or Fantasy-oriented. But the Interzone pieces themselves are well worth a look. UPDATE: I am informed, thanks to JJ at File 770, that as Interzone is by WSFS rules a semiprozine, Senecal's work would be eligible for Best Fan Artist, and not for Professional Artist. I confess he certainly seems like a professional to me (and so does Interzone seem like a prozine), but the rules are the rules, I suppose.

Fan Artist

Here’s a category I’m going to bow out of – I just haven’t seen enough fan art this year to make a recommendation. (With the exception that, as noted above, I will nominate Dave Senecal for Best Fan Artist unless I find some qualifying professional work by him.)

Best Graphic Story

And one more I’ll bow out of – I don’t read graphic novels as a rule. Don’t take that as disparagement – I’m really impressed by the artwork and storytelling, but it’s a case of “so many books, so little time” …

Best Novel, Series, YA
Best Editor, Campbell Award

Saturday, February 17, 2018

2018 Hugo Recommendations: Long Fiction


I've been holding off on this post for a while, because I'm still catching up on my novel reading. But having at least got to The Moon and the Other and Ka, and with time running a bit short, I figure I'll go ahead and post it -- revising it later as I read more.

Hugo Nomination Thoughts, Long Fiction

I use the term “Long Fiction” because we now have three categories that can fit. Best Novel, of course, but also Best Series, as well as the new “Not a Hugo” for Best Young Adult Fiction.

Best Novel

Every year I mention that I haven’t read a lot of novels. Maybe I did a bit better this year, however. Already I’ve read the following novels I think are potentially Hugo-worthy:

Spoonbenders, by Daryl Gregory
Ka, by John Crowley
The Strange Case of the Alchemist’s Daughter, by Theodora Goss
The Moon and the Other, by John Kessel
Provenance, by Ann Leckie
Seven Surrenders, by Ada Palmer
The Wrong Stars, by Tim Pratt
Amatka, by Karin Tidbeck

I’ve got a few more novels ready to read real soon: Raven Stratagem, by Yoon Ha Lee (cool that I’ll read that right after John Crowley’s novel about a crow); Six Wakes, by Mur Lafferty; The River Bend, by Kij Johnson; and Autonomous, by Annalee Newitz. That doesn’t by any means exhaust the pool of good novels, or potentially good novels, but I only have so much time!

I’m going to put three novels on my tentative nomination list right away. These are the best three 2017 novels I’ve read so far, and I’ll be surprise (and pleased!) if any of the novels I have yet to read surpass them. The leading choices for other two on my ballot right now are The Strange Case of the Alchemist’s Daughter, The Wrong Stars, and Amatka, but there is still time for a new novel to bump one of those, or for me to change my mind. (And, of course, I need to make up my mind between those three anyway!)

So, the top three are, in no particular order (well, alphabetical by author):

Ka, by John Crowley – the subtitle is “Dar Oakley in the Land of Ymr”, and it’s about a Crow named Dar Oakley, who, upon being nursed to life by an aging man in our near future, tells the man stories of his long life – or series of lives – and his increasing contact with humans and knowledge of the human world (which he calls Ymr). This sounds simple – oh, another talking animal story – and it’s nothing but: beautifully told and wise, with the voice of both the human narrator and of Dar Oakley remarkably well-realized.

Spoonbenders, by Daryl Gregory – a very funny (and often heartbreaking as well) novel about a family of pyschics – the pater familias is a con man, but his wife and his children (and at least one grandchild) have real (if inconsistent) powers. I was reminded of Michael Chabon, and I was convinced by the portrayal of the Chicago suburbs, where the book is set and where I also grew up. There are multiple love stories, there is a tricky and well-navigated plot, and there is a real and powerful emotional payoff. And, yes, it’s very funny.

The Moon and the Other, by John Kessel – Set a in the 22nd Century on the Moon, centered on the political turmoil in one colony run by the Society of Cousins, in which women hold all political power, on the grounds that men are too violent. (The argument is developed more subtly in the book and in its related stories.) One character (the hero of a previous story) has been exiled and is making a life in another, noticeably patriarchal, society, when he is offered an opportunity to return to his first home. Another character is a woman involved in a Reform movement aimed at giving men in the Society the right to vote. Another character is a charismatic athlete in the Society who wants custody of his son. And who has a very unexpected personal secret. The novel is not drily political, or polemical, at all (though as with most essentially utopian stories, I sensed  a bit of bias towards the more utopianish community) – instead it’s actively engaging, very fun reading, very thought-provoking. This is the choice for those who want traditional hard SF.

Best Series

I’m going to cop out just a bit and suggest that the best thing to do is look at JJ’s list of eligible series posted at File 770 here: http://file770.com/?page_id=32954.

I’m behind in catching up with some definite candidates. As things stand now I’m most interested in nominating:

The World of Five Gods, by Lois McMaster Bujold
The Laundry Files, by Charles Stross
Riverside, by Ellen Kushner
Kylara Vatta, by Elizabeth Moon
Terra Ignota, by Ada Palmer

Best YA Novel

This is the first year for this new award. As I mentioned, it is not a Hugo, but it will be administered and awarded by the World Science Fiction Society using essentially the same process as for the Hugos (and the Campbell). The only true YA novel I read this year was Martians Abroad, by Carrie Vaughn, which I enjoyed, though I wouldn’t quite call it Hugo level work. I have just bought A Skinful of Shadows, by Frances Hardinge, on the urgent recommendation of folks like Farah Mendlesohn and others, and it looks quite interesting. Beyond that I’d suggest a look at the YA category in the Locus Recommended Reading list: http://locusmag.com/2018/02/2017-locus-recommended-reading-list/.

My Recommendation Posts:
Best Novel, Series, YA
Best Editor, Campbell Award

Thursday, February 15, 2018

Old Bestseller: Amos Judd, by J. A. Mitchell

Old Bestseller: Amos Judd, by J. A. Mitchell

a review by Rich Horton

J. A. Mitchell (1845-1918) was a fairly major figure in American publishing, as the founder of Life magazine (which was more news than picture oriented in its early days). He was also an architect of some note. And in his spare time he wrote six novels and a number of short stories, many of them of interest to readers of fantastika. Most famous to those interested in SF history is The Last American (1889), a satirical look at a Persian expedition to a ruined America a millennium in the future. One other SF novel is Drowsy (1917). Worthwhile details can be found in the Science Fiction Encyclopedia entry on Mitchell.


Mitchell's most famous novel in his lifetime, however, was Amos Judd (1895). This too is a work of the fantastic, though closer to fantasy than science fiction, and though set mostly around the time of composition. Amos Judd was first published by Scribner's in 1895. It didn't make the Publishers' Weekly list of top ten bestsellers its year but it sold quite well -- I saw online a copy of the 8th printing, from 1896. My edition is from 1901. It is illustrated in color by A. I. Keller. It is signed on the first leaf "S. A. Y. Christmas 1901".

Amos Judd opens with a train reaching the Bingham Cross Roads station, in Connecticut. Three passengers alight, two adults and one boy of about 6 or 7, all foreigners. They proceed to take a carriage to the village of Daleford, looking for Mr. Josiah Judd. On the way there the boy insists they stop at a house on the way -- Josiah Judd will be there, he avers. And indeed that turns out to be true.

The boy is a young Rajah from a Northern Indian state that has just undergone a revolution. Josiah's brother Morton is a successful merchant in India, and he has sent the young boy to his brother to raise, away from the turmoil in his home. Josiah Judd is a successful farmer, childless, and he and his wife take the boy, saving the large fortune in jewels and other things that he has with him for his majority.

Twenty years later, Josiah is dead, and the boy, now called Amos, has inherited his farm. Amos has made quite a success of it, partly through his love of animals, and partly by using the capital derived from his Indian inheritance. Amos also attended college and made a number of friends -- and some enemies, one of whom he killed (partly by accident) when insults were traded. In New York, Amos is at a party and makes the acquaintance of the beautiful Molly Cabot. Amos' initial reaction is strange, and Molly is at first taken aback by the story she hears of his killing his classmate. (To everybody's credit, Amos' Indian background is never seen as an impediment to his eventual courtship of Molly.)

By happenstance, Molly and her father decide to summer in Daleford, unaware that that is Amos' home. But once there, things take their natural course, and the two young people become closer and closer. Amos also makes friends with Mr. Cabot. And he reveals his one unusual talent: he can, if he chooses, see future events. (This is how he knew Josiah Judd would be at another house when they came to Daleford.) However, he cannot change the future -- anything he sees must happen. Even if he tries to change the future, it will still come to be. Mr. Cabot cannot believe this, but he puts it to the test by asking Amos what he (Mr. Cabot) will be doing the next day, and when he tries to do something different he finds he has lost all volition.

There is some discussion of a philosophical nature on the implications of this talent of Amos', which is, in his Indian family, ascribed to a gift of Krishna after an ancestory helped one of Krishna's Earthly incarnations. (This bit didn't make much sense, as one ancestor used his ability to help him extend his territory by winning important battles -- which seems to contradict the notion that the future, once seen, cannot be changed.) At any rate, Molly and Amos' love affair proceeds apace, though Amos at times seems distracted and distraught -- and we quickly guess the reason -- he must have foreseen his own death.

And so of course it turns out -- Molly and Amos marry, and they have a fine honeymoon. Amos and Mr. Cabot have tried again to cheat fate -- and it seems it has worked, for they have hidden Amos away on the supposed day of his death, and he has survived. But, in the melodramatic conclusion, Molly is attacked, and Amos comes to her rescue, and kills the attackers, but is shot in his turn ... with a calendar present showing the wrong date!

Really, I've made this sound sillier than it is. It's actually a well-executed novel, and the inevitable conclusion is well set up, and faced with honesty. It's quite affecting. This is not a great novel (short novel -- it's about 35,000 words), but it's not bad.

It was made into a movie in 1922, The Young Rajah, starring Rudolf Valentino. The movie bollixed things quite a bit, especially at the end, where, predictably for Hollywood I guess, Amos actually manages to cheat his fate, and survives the attack on his life, and indeed returns to his Indian kingdom, Molly by his side, to regain his crown.

Wednesday, February 14, 2018

2018 Hugo Recommendations: Best Editor, Campbell


Best Editor

Short Form

I suppose I am in a rut in this category, but I think that’s the nature of things. I will happily list the usual suspects – and I really do think they are the worthiest choices. These are, then Sheila Williams at Asimov’s, Jonathan Strahan with the Infinity series and other anthologies (including a Best of the Year series), plus stories for Tor.com), John Joseph Adams (Lightspeed, numerous anthologies, a Best of the Year series), C. C. Finlay at F&SF, Trevor Quachri at Analog, Andy Cox at Interzone and Black Static, Neil Clarke and Sean Wallace of Clarkesworld (with Neil is also editing a Best of the Year book, and Sean also co-editor of The Dark), Scott H. Andrews at Beneath Ceaseless Skies, and Lynne and Michael Damian Thomas at Uncanny

And, of course, the two most decorated contemporary editors, Ellen Datlow and Gardner Dozois. Ellen, in addition to a couple of strong horror anthologies, and some acquisitions for Tor.com, returned to her post as Fiction Editor at Omni, with one very strong issue.  Gardner, besides his long-running Best of the Year series, and his work as reprint editor at Clarkesworld, edited an excellent original anthology, The Book of Swords. Each of the above is wholly worthy of a Hugo (and there are others worth consideration as well).

My choice is complicated by the fact that I consider almost every one of these people a friend, in many case of long standing. (There are one or two I haven’t met, but I’m sure I would get along with them as well!) In addition, I have professional relationships with John Joseph Adams (as I am Reprint Editor for Lightspeed) and Sean Wallace (publisher of my Best of the Year book).

So this year I’m doing something a bit different – and perhaps unfair! I’m going to choose the editors whose publications featured the most stories in my Best of the Year book. That leaves me with C. C. Finlay (four stories from F&SF), Sheila Williams (four from Asimov’s), John Joseph Adams (three from Lightspeed), Scott Andrews (three from BCS), and Lynne and Michael Damian Thomas (three from Uncanny). (I don’t know how to separate Lynne and Michael, and of course I don’t want to!) One of the things that means a lot to me in an editor is championing new writers, and all of these editors to a great job in this area, but one who stands out to me this year is C. C. Finlay, for such writers publishing their first or second stories as G. V. Anderson, R. S. Benedict, and J. R. Dawson. (I guess with Charlie using his initials, his writers feel they need to do the same! 😊)

Long Form

I am deciding on my nominees for Best Editor, Long Form on two criteria: first, involvement with some of the best novels of the year; and second, associations (especially as a leader) with new and exciting and perhaps different book lines. These criteria are obviously pretty subjective, and I have to add, my true knowledge of the real editing work done by book editors is pretty limited.

One name stands out. This is Joe Monti at Saga Press. First of all, Joe edited two of the clear cut, no fuzz, best novels of the year: Ka, by John Crowley; and The Moon and The Other, by John Kessel. Secondly, Joe is the lead editor at Saga, a fairly new imprint that has quickly made a mark, with first rate novels and anthologies. (They also produce very attractive books.)  Two more choices are there partly because of their role in establishing either a new imprint, or an imprint that I feel deserves special notice. But also, in each case they have been responsible for one of the best novels of the year. These are Gavin Grant* at Small Beer Press, and John Joseph Adams, who has his own line (at Mariner Books of Houghton Mifflin Harcourt, and, no, I don’t know how to untangle that string of names). Each is responsible for at least one of the year’s top novels: The River Bank, by Kij Johnson (Small Beer) and Bannerless, by Carrie Vaughn (Mariner). (I know for a fact that John has some more really impressive books coming out in 2018 – I’ve read at least one of them already!) Another strong book from Saga Press is The Strange Case of the Alchemist’s Daughter, by Theodora Goss. The editor is Navah Wolfe. And Tor Books puts out some of the best SF every year, and I think Liz Gorinsky deserves a nod (she was the editor for Annalee Newitz’ Autonomous among other books). (Once again, some extra credit might be given for publishing first-time novelists: as with Theodora Goss and Annalee Newitz.)

(*Of course Kelly Link is also a major player at Small Beer Press, and she probably deserves as much credit as Gavin.)

I will emphasize again that my knowledge of the real work of novel editors is limited, and there are many more editors worthy of notice, most of whom are probably all but invisible to the average nominator. I could mention at least Tim O’Connell at Knopf, who edited Daryl Gregory’s Spoonbenders, Jonathan Oliver at Solaris, who edited Yoon Ha Lee’s Raven Stratagem, and Phil Jourdan at Angry Robot, who edited Tim Pratt’s The Wrong Stars.

Campbell


Finally, the John W. Campbell Award for Best New Writer. This is given to the best writer whose first professional publication in the SF or Fantasy field appeared in the past two years (2016 or 2017). Writertopia has a page, not guaranteed to be complete, with a list of eligible authors: http://www.writertopia.com/awards/campbell .

I went through that list and came up with the following writers who have done something that impressed me:

G. V. Anderson (who already has a World Fantasy Award!)
R. S. Benedict
J. R. Dawson
Giovanni  di Feo
Tonya Liburd
Benjamin C. Kinney
Finbarr O’Reilly
Vina Jie-Min Prasad
Rebecca Roanhorse
D. A. Xiaolin Spires

Interestingly, I don’t think any of these have published novels, and in fact I didn’t recognize a novelist among all the eligible writers listed. (Probably there were some, but I hadn’t seen their novels.) Typically novelists have an advantage. Maybe this year will be different.

Three of these writers have stories in my Best of the Year book this year: J. R. Dawson (“Marley and Marley), Giovanni di Feo (“Ugo”), and Vina Jie-Min Prasad (“Fandom for Robots”, not to mention “A Series of Steaks”). I will certainly happily nominate them. I will also add R. S. Benedict, whose “My English Name” is very impressive, and was definitely on my short list of stories to consider for my book this year, and G. V. Anderson, whose “I Am Not I” was also on my short list, and who should be remembered for other strong work, including last year’s World Fantasy Award winner for Short Fiction, “Das Steingeschöpf”.

My Recommendation Posts:
Best Novel, Series, YA
Best Editor, Campbell Award

Friday, February 9, 2018

The Year's Best Science Fiction and Fantasy, 2018 Edition

We have finally finalized the Table of Contents for my Best of the Year book for stories from 2017. I think it's an excellent book (of course I would!) (For those who might have seen some stories I recommended in my Hugo posts that don't show up here ... the book is always influenced by considerations like length, thematic balance, avoiding too many stories from the same source, and also contractual limitations. And as I've said many times, when it comes to the final several stories I choose to include, it's a matter of agonizing over the ones I can't quite fit that are really just as good.)

These are listed in alphabetical order of original place of publication.

The Year’s Best Science Fiction & Fantasy, 2018 Edition, edited by Rich Horton. 

Contents:
“Time Travel is Only for the Poor” by S. L. Huang (Analog)
“Emergency Protocol” by Lettie Prell (Analog)
“Persephone of the Crows” by Karen Joy Fowler (Asimov’s)
“Cupido” by Rich Larson (Asimov’s)

Winter Timeshare” by Ray Nayler (Asimov’s)
"Soulmates.com", by Will McIntosh (Asimov's)

“Red Bark and Ambergris” by Kate Marshall (Beneath Ceaseless Skies)
“Whatever Knight Comes” by Ryan Row (Beneath Ceaseless Skies)
“Don’t Press Charges and I Won’t Sue” by Charlie Jane Anders (Boston Review)
“The Significance of Significance” by Robert Reed (Clarkesworld)
“The Secret Life of Bots” by Suzanne Palmer (Clarkesworld)
“The Tale of the Alcubierre Horse” by Kathleen Ann Goonan (Extrasolar)
“Marley and Marley” by J. R. Dawson (F&SF)
“The Hermit of Houston” by Samuel R. Delany (F&SF)
“Rings” by Nina Kiriki Hoffman (F&SF)
“Starlight Express” by Michael Swanwick (F&SF)
“The Sacrifice of the Hanged Monkey” by Minsoo Kang (Fantastic)
“ZeroS” by Peter Watts (Infinity Wars)
“Ugo” by Giovanni de Feo (Lightspeed)
“Love Engine Optimization” by Matthew Kressel (Lightspeed)
“This is for You” by Bruce McAllister (Lightspeed)
“One Hour, Every Seven Years” by Alice Sola Kim (McSweeney’s)
“Montreal, 2014” by Madeline Ray (Mothership Zeta)
“Sidewalks” by Maureen McHugh (Omni)
“Shoggoths in Traffic” by Tobias S. Buckell (Patreon)
“The Fisherman and the Pig” by Kameron Hurley (Patreon)
“Utopia LOL?” by Jamie Wahls (Strange Horizons)
“An Account of the Land of Witches” by Sofia Samatar (Tender)
“Extracurricular Activities” by Yoon Ha Lee (Tor.com)
“The Martian Obelisk” by Linda Nagata (Tor.com)
“Hexagrammaton” by Hanus Seiner (Tor.com)
“Though She Be But Little” by C. S. E. Cooney (Uncanny)
“And Then There Were (N - One)” by Sarah Pinsker (Uncanny)
“Fandom for Robots” by Vina Jie-Min Prasad (Uncanny)

Thursday, February 8, 2018

A Forgotten SF Novel: Time Bomb, by Wilson Tucker

A Forgotten SF Novel: Time Bomb, by Wilson Tucker

a review by Rich Horton

I call this novel "forgotten", and I believe it is, largely, but its author is not forgotten in SF circles, particularly fan circles. Arthur Wilson Tucker was born in 1914, and was brought up in Bloomington, IL, where he lived most of his life. His primary career was as an electrician and projectionist. He was an active fan since the early '30s, known to everyone as Bob Tucker.  He published the legendary fanzine Le Zombie beginning in 1938, as well as The Bloomington Newsletter, and The Neo-Fan's Guide. He won the Best Fanwriter Hugo in 1970, a retrospective John W. Campbell Memorial Award in 1976, and a couple of Retro-Hugos as well. He was particularly famous for the ritual of "smoothing" -- a group of people would gather round, pass around a bottle of Jim Beam, take a sip, raise their hands, and when all were done, say "smooooth" and swoop their hands down. I was "smoooothed" at my first convention, ConQuesT in Kansas City in 1998 or so -- that was the one time I met Bob Tucker. He died in 2006, shortly after his wife of 52 years, Fern, had died.

Tucker was also a professional writer, of both mysteries and SF, usually as by Wilson Tucker. His first novel, a mystery set in fannish circles called The Chinese Doll, appeared in 1946, and his last, the well-regarded SF novel Ice and Iron, in 1974. His best-remembered novels are The Lincoln Hunters (1958), The Long Loud Silence (1952), The Year of the Quiet Sun (1970) and Ice and Iron (1974, expanded 1975). I've read The Lincoln Hunters, Wild Talent, and Ice and Iron. He was said to be determinedly retired from writing after Resurrection Days appeared in 1981. (He apparently sold a novel outline to Harlan Ellison for The Last Dangerous Visions after much prodding, so there may be one unpublished work awaiting, though Tucker also apparently said that that was one story he wouldn't be eager to have unearthed.)

Tucker is also famous for having coined the term "Space Opera" (quite a disparaging term in his hands), and for the practice called "Tuckerization": using names of friends for fictional characters.

(Cover by Richard Powers)
His novels were noted for their generally rather bleak tone, a refusal to flinch from the worst implications of his ideas and of the world he saw around him. (This perhaps in contrast to his personal amiability.) This applies to Time Bomb, indeed, though perhaps not wholly effectively -- the novel is somewhat clumsily executed, and uneasily tied to an earlier novel, The Time Masters.

I read the 1957 paperback reprint from Avon, retitled Tomorrow Plus X. The original novel was published in 1955 by Rinehart and Company, who were Tucker's publishers, for both mystery and SF, from his first novel at least throughout the '50s.

The opening chapter, in several brief sections, introduces a comedian spoofing time travel, an Illinois State police Lieutenant called to the site of a mysterious bombing, a rally for a popular populist politician, an old man working on a device of some sort, an urbane couple watching the comedian with distaste, and a telepath. The connections seem unclear at first. We are soon following Lieutenant Danforth as he continues to investigate the bombing, which is the sixth in a strange series that seemed aimed at associates of the populist politician Ben, the leader of the "Sons of America" movement. (Ben was surely modeled on Joe McCarthy at the time of writing, but yes, he does remind the contemporary reader uneasily of Donald Trump.)

Danforth is soon fired, for the crime of not having solved the bombings. But the department's telepath, a very influential man, arranges for him to keep working on the case surreptitiously. Danforth has fixed on the notion of bombs travelling through time as the means. He is pointed in the direction of a couple who just moved into the area, Gilbert and Shirley Nash. He goes to meet them -- they are a strange couple, and they had an odd history at their previous job, working at Oak Ridge (evidently this was the subject of The Time Masters). Soon it is revealed that Gilbert Nash is actually Gilgamesh, and he's 10,000 years old. Shirley is apparently also slow to age, though she's only a few decades old at this time. Danforth falls in love (hopelessly) with Shirley.

A fortuitous finding of a failed bomb in a nearby field gives Danforth the break he needs, and some good old fashioned detective work leads him to the criminal. Who seems glad to be found. But of course his secret involves time travel -- and he claims to know the future ... What will Lt. Danforth do with this knowledge?

The book is really kind of a mess. Gilbert and Shirley Nash seem wholly unnecessary characters. The explanation of how the "time bomb" worked never made much sense to me. And the conclusion, meant to be heroic (which it is, I suppose) also seemed strained. Tucker did much better in books like Ice and Iron and The Year of the Quiet Sun. (An interview from 1975 conducted by Dave Truesdale and Paul MacGuire III for Tangent mentions a novel about Gilgamesh that he was a couple of chapters into then: he must have abandoned that. I wonder if that was intended to be a third Gilbert and Shirley Nash story?)

Tuesday, February 6, 2018

2018 Hugo Recommendations: Short Story


Short Story

Another very long list, a set of very worthwhile short stories.

Charlie Jane Anders, "Cake Baby" (Lightspeed, 11/17)
Charlie Jane Anders, "Don’t Press Charges and I Won’t Sue" (Boston Review, Global Dystopias)
Tim Akers, "A Death in the Wayward Drift" (Interzone, 3-4/17)
Eleanor Arnason, "Daisy" (F&SF, 3-4/17)
Kelly Barnhill, "Probably Still the Chosen One" (Lightspeed, 2/17)
Tobias Buckell, "Zen and the Art of Starship Maintenance" (Cosmic Powers)
Tobias Buckell, "Shoggoths in Traffic" (Patreon, 4/17)
Rebecca Campbell, "The Fall of the Mundaneum, (Beneath Ceaseless Skies, 9/28/17)
C. S. E. Cooney, "Though She Be But Little" (Uncanny, 9-10/17)
Tina Connolly, "Pipecleaner Sculptures and other Necessary Work" (Uncanny, 11-12/17)
John Crowley, "This is Our Town" (Totalitopia)
John Crowley, “Spring Break” (New Haven Noir)
Scott Dalrymple, "Marcel Proust, Incorporated" (Lightspeed, 6/17)
J. R. Dawson, "Marley and Marley" (F&SF, 11-12/17)
Kate Dollarhyde, “Lamplighter’s Eve” (Lackington’s, Fall/17)
Andy Dudak, "Cryptic Female Choice" (Interzone, 7-8/17)
Tom Greene, "Necessary Illusions" (Analog, 1-2/17)
Giovanni de Feo, "Ugo" (Lightspeed, 9/17)
Jonathan Edelstein, "Of Letters They Are Made" (Beneath Ceaseless Skies, 6/22/17)
Kendra Fortmyer, "Octopus vs. Bear" (Lightspeed, 5/17)
Karen Joy Fowler, "Persephone of the Crows" (Asimov’s, 5-6/17)
A. T. Greenblatt, "A Place to Grow" (Beneath Ceaseless Skies, 5/11/17)
Nina Kiriki Hoffman, "Rings" (F&SF, 5-6/16)
S. L. Huang, "Time Travel is Only for the Poor" (Analog, 11-12/17)
Kameron Hurley, "The Fisherman and the Pig" (Beneath Ceaseless Skies, 9/28/17)
N. K. Jemisin, "The Evaluators" (Wired, 1/17)
Minsoo Kang, "The Sacrifice of the Hanged Monkey" (Fantastic, POC Take Over)
Alice Sola Kim, "One Hour, Every Seven Years" (McSweeney’s #49)
Matthew Kressel, "Love Engine Optimization" (Lightspeed, 6/17)
Naomi Kritzer, "Paradox" (Uncanny, 5-6/17)
Greg Kurzawa, "Soccer Fields and Frozen Lakes" (Lightspeed, 3/17)
Margo Lanagan, "Not All Ogre" (Singing My Sister Down)
Rich Larson, "An Evening with Severyn Grimes" (Asimov’s, 7-8/17)
Rich Larson, "Cupido" (Asimov’s, 3-4/17)
Emily St. John Mandel, "Mr. Thursday" (Slate, 3/17)
Kate Marshall, "Red Bark and Ambergris" (Beneath Ceaseless Skies, 8/17/17)
Bruce McAllister, "This is for You" (Lightspeed, 5/17)
Maureen McHugh, "Sidewalks" (Omni, Winter/17)
Linda Nagata, "The Martian Obelisk" (Tor.com 7/17)
Ray Nayler, "Winter Timeshare" (Asimov’s, 1-2/17)
Mari Ness, "You Will Never Know What Opens" (Lightspeed, 12/17)
Susan Palwick, "The Shining Hills" (Lightspeed, 8/17)
Dominica Phetteplace, "Oracle"(Infinity Wars)
Sarah Pinsker, "The Ones Who Know Where They Are Going" (Asimov’s, 3-4/17)
Vina Jie-Min Prasad, "Fandom for Robots" (Uncanny, 9-10/17)
Lettie Prell, "Emergency Protocol" (Analog, 9-10/17)
Madeline Ray, "Montreal 2014" (Mothership Zeta, 1/17)
Robert Reed, "The Significance of Significance" (Clarkesworld, 7/17)
Ryan Row, "Whatever Knight Comes" (Beneath Ceaseless Skies, 5/25/17)
Sofia Samatar, “An Account of the Land of Witches” (Tender)
Karl Schroeder, "Eminence" (Chasing Shadows)
Gord Sellar, "Focus" (Analog, 5-6/17)
Benjanun Sriduangkaew, "No Pearls as Blue as These" (Beneath Ceaseless Skies, 8/17/17)
Eric Schwitzgebel, "The Turing Machines of Babel" (Apex, 7/17)
Jack Skillingstead, "The Last Garden" (Lightspeed, 2/17)
Michael Swanwick, "Starlight Express" (F&SF, 9-10/17)
Molly Tanzer, "Nine-Tenths of the Law" (Lightspeed, 1/17)
Lavie Tidhar, "The Banffs" (Analog, 5-6/17)
Carrie Vaughn, "I Have Been Drowned in Rain" (Beneath Ceaseless Skies, 4/13/17)
Jamie Wahls, "Utopia LOL?" (Strange Horizons, 6/5/17)
Daniel Wallace, "Sea Girls" (Tin House, Summer/17)
Jo Walton, "A Burden Shared" (Tor.com, 4/17)
Nick Wolven, "Confessions of a Con Girl" (Asimov’s, 11-12/17)
Caroline Yoachim, “Carnival Nine”, (Beneath Ceaseless Skies, 5/11/17)
E. Lily Yu, "The White-Throated Transmigrant" (Tor.com, 6/17)
Alvaro Zinos-Amaro and Adam-Troy Castro, "A Touch of Heart" (Lightspeed, 7/17)

Lots of excellent stories there. I do have some favorites. My nomination list will include five of these, and I have to admit, I don’t know right now which five.

Maureen McHugh, "Sidewalks" (Omni, Winter/17) – Rosni Gupta is a speech pathologist for Los Angeles County, and her latest case is a woman who speaks nothing but gibberish. Rosni assumes she is perhaps autistic, but on meeting her she realizes that is not the case, and soon learns what the gibberish really is. I’ll leave the secret for the reader to discover – not that it’s particularly a new notion – but the implications are powerful, and the characters are absolutely real.

Giovanni de Feo, "Ugo" (Lightspeed, 9/17) – About a girl who repeatedly meets a strange boy named Ugo, who claims to know their common future. Eventually he tells her that he experiences “Leaps” through time, when his older self goes into a sort of fugue and travels into his younger mind. The story follows their life, and their love affair, and careers – with the question always as to how it will end, for Ugo’s knowledge of the future only goes so far. There’s an obvious hint of The Time Traveler’s Wife here, but with a somewhat darker tint – and with an ambiguous ending twist. This is a very effective, moving, and thoughtful piece.

Charlie Jane Anders, "Don’t Press Charges and I Won’t Sue" (Boston Review, Global Dystopias) – This concerns Rachel, who has been confined in an institution to cure her particular personal problem, as the state sees it – her belief that she is a woman, though she was born a boy. Her childhood friend Jeffrey is a functionary at this particular institution. And the method of “cure” is particularly horrific – not that her situation isn’t horrific no matter how the state wished to treat her. Anders has always had the ability to present truly agonizing situations with a superficially comic surface, which only makes the realization of the horror beneath more affecting – and never more so, I think, than in this story.

Sofia Samatar, “An Account of the Land of Witches” (Tender) – It opens with a lyrical narrative by Arta, a slave who is taken by her master (a merchant) to the Land of Witches, where she learns their magic – or Dream Science – which involves language and the manipulation of time. This is absolutely lovely writing, and the magical system is beautiful. There follows – ever in different well realized voices – a “refutation” of Arta’s account by her angry master; and then a desperate section told by a Sudanese woman trapped back home by visa problems (and local strife) as she tries to research the fragments that make up Arta’s account and her master’s refutation for her degree from a US university; then a lexicon of the witches’ magical language, and then a strange almost mystical account of a journey in search of the Land. This is really striking, original, and mysterious.

Linda Nagata, "The Martian Obelisk" (Tor.com, 7/17) – set in a future in which a series of disasters, with causes in human nature, in environmental collapse, and in technological missteps, has led to a realization that humanity is doomed. One old architect, in a gesture of, perhaps, memorialization of the species, has taken over the remaining machines of an abortive Mars colony to create a huge obelisk that might end up the last surviving great human structure after we are gone. But her project is threatened when a vehicle from one of the other Martian colonies (all of which failed) approaches. Is the vehicle’s AI haywire? Has it been hijacked by someone else on Earth? The real answer is more inspiring – and if perhaps just a bit pat, the conclusion is profoundly moving.

Karen Joy Fowler, "Persephone of the Crows" (Asimov’s, 5-6/17) – is just wrenchingly brilliant, using apparently true (in story terms) fantastical elements in service of character examination, and in so doing resolves itself without really resolving any of the questions the fantastical elements might inspire. Which, to a devoted reader of the fantastic can be in a way disappointing. But on its own terms I think this story delivers. Polly is a 10-year old girl at who meets another girl who claims to have seen a real fairy. Polly is envious of the other girl for lots of reasons – money is one, parents are another, and Polly’s wishes for something better in her life only intensify that night – until the drive home, when her drunken father loses control of the car – and things get strange. Be careful what you wish for, perhaps? Though that sounds a bit facile – the story doesn’t quite go where you expect it to, and in the end we have a sharp portrayal of its main character and a sad look at her perception of her family.

Tobias Buckell, "Zen and the Art of Starship Maintenance" (Cosmic Powers) – A starship maintenance robot, after a successful battle, by happenstance rescues a CEO of the enemy fleet, and finds himself inveigled/bribed/coerced into rendering assistance. The story turns on the complex intersection of intriguing speculation about AIs and identity, economics, contract law, moral law, free will and orbital mechanics. In other words, really cool stuff.  

Tobias Buckell, "Shoggoths in Traffic" (Patreon, 4/17) – is a clever Lovecraftian crime story, in which a couple of people steal (repossess!) a car from a drug dealer and try to take it to Miami – but on the way run into a weird highway exit and a biker magician and – well, you’ll not think of cloverleafs and other traffic patterns in quite the same way after this!

My Recommendation Posts:
Best Novel, Series, YA
Best Editor, Campbell Award

Saturday, February 3, 2018

2018 Hugo Recommendations: Novelette

Novelette
This is my long list of novelettes I’ve considered for nomination, largely the list of those I put in the Recommended Reading section of my Locus reviews (with a few additions).

Daniel Abraham, “The Mocking Tower” (The Book of Swords)  
Nina Allan, “Neptune’s Trident” (Clarkesworld, 6/17)
Charlie Jane Anders, “A Temporary Embarrassment in Spacetime” (Cosmic Powers
G. V. Anderson, “I Am Not I” (F&SF, 7-8/17)
Dale Bailey, “Come As You Are” (Asimov’s, 5-6/1)
R. S. Benedict, “My English Name” (F&SF, 5-6/17)
Maggie Clark, “Belly Up” (Analog, 7-8/17)
Samuel R. Delany, “The Hermit of Houston” (F&SF, 9-10/17)
Christopher East, “An Inflexible Truth” (Lightspeed, 8/17)
Greg Egan, “The Discrete Charm of the Turing Machine(Asimov’s, 11-12/17)
Greg Egan, “Uncanny Valley” (Tor.com, 8-17)
Kate Elliott, “’I am a Handsome Man’ said Apollo Crow” (The Book of Swords)  
Max Gladstone, “Crispin’s Model” (Tor.com, 10/17)
Theodora Goss, “Come See the Living Dryad” (Tor.com, 3/17)
Robert Grossbach, “Driverless” (F&SF, 3-4/17)
Austen Habershaw, “The Masochist's Assistant” (F&SF, 7-8/17)
Maria Dahvana Headley, “Black Powder” (The Djinn Falls in Love)  
Simone Heller, “How Bees Fly” (Clarkesworld, 2/17)
Chi Hui, “Rain Ship” (Clarkesworld, 2/17)
Xia Jia, “Goodnight Melancholy” (Clarkesworld, 3/17)
Mary Robinette Kowal, “The Worshipful Society of Glovers” (Uncanny, 7-8/17)
Yoon Ha Lee, “Extracurricular Activities” (Tor.com, 2/17)
Yoon Ha Lee, “The Chameleon’s Gloves” (Cosmic Powers)
Will McIntosh, “Soulmates.com” (Asimov’s, 3-4/17)
Sean McMullen, “The Influence Machine” (Interzone, 3-4/17)
David Erik Nelson, “Whatever Comes After Calcutta” (F&SF, 11-12/17)
Suzanne Palmer, “Books of the Risen Sea” (Asimov’s, 9-10/17)
Suzanne Palmer, “The Secret Life of Bots” (Clarkesworld, 9/17)
Susan Palwick, “Remote Presence” (Lightspeed, 4/17)
K. J. Parker, “Message in a Bottle” (The Djinn Falls in Love)  
Tony Pi, “That Lingering Sweetness” (Beneath Ceaseless Skies, 4/27/17)
Sarah Pinsker, “Wind Will Rove” (Asimov’s, 9-10/17)
Vina Jie-Min Prasad, “A Series of Steaks” (Clarkesworld, 1/17)
Robert Reed, “Leash on a Man” (F&SF, 9-10/17)
Robert Reed, “Dunnage of the Soul” (F&SF, 1-2/17)
Alastair Reynolds, “Night Passage” (Infinite Stars)
Kenneth Schneyer, “Keepsakes” (Analog, 11-12/17)
Hanus Seiner, “Hexagrammaton” (Tor.com, 5/17)
Lavie Tidhar, “Waterfalling” (The Book of Swords)  
Genevieve Valentine, “Intro to Prom” (Clarkesworld, 10/17)
Will Waller, “Phantom Architecture” (Rivet Journal, Fall/17)
Peter Watts, “ZeroS” (Infinity Wars)
Alex Wells, “Angel of the Blockade” (Tor.com, 9/17)

The top candidates for my ballot are:

1.       Yoon Ha Lee, “Extracurricular Activities” (Tor.com, 2/17) – a quite funny, and quite clever, story concerning the earlier life of a very significant character in Lee’s first novel, Ninefox Gambit. Shuos Jedao is an undercover operative for the Heptarchate, assigned to infiltrate a space station controlled by another polity, and to rescue the crew of a merchanter ship that had really been heptarchate spies, including an old classmate.

2.       Suzanne Palmer, “The Secret Life of Bots” (Clarkesworld, 9/17) – a very old bot on a battered Ship trying to stop an alien attack on Earth. It shows a surprising amount of initiative – even, one might say, imagination – in dealing with the Incidental. Might that not be useful in dealing with the aliens? Or might bots have their own ideas about their own place?

3.       Samuel R. Delany, “The Hermit of Houston” (F&SF, 9-10/17) – This is set some time in the future, in a strange future, hard to get a grip on (the best kind), from one angle seeming sort of pastoral utopia, from other angles utterly horrifying. It’s mostly about the narrator’s long-time lover, an older man named Cellibrex (sometimes), and about the hints he lets drop of some of the true nature of this future. There is extremely interesting treatment of gender, and of politics, and of law and custom and memory – and I don’t get everything that’s going on in the story, in a good way.

4.       Will McIntosh, “Soulmates.com” (Asimov’s, 3-4/17) -- The story is scary, and morally provocative, and resolved with honesty. It’s about a man using an AI service to meet potential partners, and finding a really interesting woman – but somehow she never wants to meet in real life. Of course, she’s an AI – and the protagonist doesn’t react very well to that revelation.

5.       Peter Watts, “ZeroS” (Infinity Wars) -- posits a technology that turns soldiers into non-conscious actors – for it turns out the unconscious has spooky abilities. Which are pretty scary for the humans who end up sort of “riding” their unconscious – especially when they learn what their “zombie” selves are capable of. For an extra fillip of spookiness, the story is told from the POV of a soldier who actually died, and who has been resurrected by this particular technology – at an increasingly horrible price.

6.       Hanus Seiner, “Hexagrammaton” (Tor.com, 5/17) –  A man serves as a sort of intermediary to Europans who have survived an alien virus, guiding a young woman to visit her father when he realizes she is infected with the virus – and with a purpose. Another thread shows a man – the same man? – in prison – and somehow both these threads seem to turn on understanding the alien language, and its multiple meanings for the same sentence. The linguistic weirdness reminded me of Ted Chiang’s “Story of Your Life”, and though it’s not THAT good, it’s pretty weird cool stuff.


The other stories on the verge are Kenneth Schneyer’s “Keepsakes”, Alastair Reynolds’ “Night Passage”, Daniel Abraham’s “The Mocking Tower”, and Kate Elliott’s , “’I am a Handsome Man’ said Apollo Crow”.