The Hugo Ballot, Short Story

Here's the first of what will be a series of posts detailing my thoughts on my final ballot ordering for a number of the Hugo categories.

Short Story

The Hugo shortlist is:

"Carnival Nine" by Caroline M. Yoachim (Beneath Ceaseless Skies, May 2017)
"Clearly Lettered in a Mostly Steady Hand", by Fran Wilde (Uncanny, September 2017)
"Fandom for Robots", by Vina Jie-Min Prasad (Uncanny, September/October 2017)
"The Martian Obelisk," by Linda Nagata (Tor.com, July 19, 2017)
"Sun, Moon, Dust", by Ursula Vernon (Uncanny, May/June 2017)
"Welcome to your Authentic Indian Experience[TM]", by Rebecca Roanhorse (Apex, August 2017)

This is by no means a bad shortlist. Every story on it is at least pretty decent.  My ballot will look like this:

1. “The Martian Obelisk”, by Linda Nagata – This is 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.

2. “Fandom for Robots”, by Vina Jie-Min Prasad – a quite delightful story of a 1950s robot (called Computron, natch!) writing fan fiction about an anime called Hyperdimension Warp Record. Prasad pulls it off with a perfect deadpan delivery, which makes Computron, as it were, come alive – and which captures the fan fiction culture right on the nose.

3. “Clearly Lettered in a Mostly Steady Hand”, by Fran Wilde – a story of a visit to a museum exhibition that in the end seems to be a “freak show”, and which has a distinct and scary effect on the visitor. It’s told in the second person, and this is (perhaps rarely!) the exactly correct choice for this story, as the reader slowly realizes that the act of viewing the perhaps grotesque (or just misunderstood?) exhibits has parallels with how they see people who are different. I will say that this is a story that improved on rereading – either because my mood was different, or because I saw more on a second pass.

4. “Carnival Nine”, by Caroline M. Yoachim – a nice take on the notion of windup dolls that are truly alive, as Zee, blessed with a mainspring that takes extra winding, grows up with her beloved Papa, marries a nice young boy, and then makes a child who can hardly be wound at all. It’s a simple idea, and told straightforwardly, with no compromises or miracles.

5. “Sun, Moon, Dust”, by Ursula Vernon – a fine magic sword story in which Allpa’s grandmother leaves him a sword on her death, with the three title warriors enchanted into it to teach him to fight. But Allpa is a farmer, and doesn’t see much need for a sword, much to the frustration of Sun, Moon, and Dust. Allpa has plenty to learn, but maybe he has more to teach – and maybe perhaps one of these warriors will realize that there’s more to life than war.

6. "Welcome to your Authentic Indian ExperienceTM", by Rebecca Roanhorse – another second person story, and while that’s done well enough, it doesn’t seem quite as effective a choice as in the Wilde story. It’s the story of a Native American man working in a near future tourist destination where people can have “authentic” virtual experience of historical Indian life – but instead of being truly “authentic” the experiences are overlaid with typical fake Indian clichés. I thought it was fine, well worth reading, but it didn’t really wow me.

On reflection and rereading, even though I only nominated one of these stories (and the second wasn’t too far off my nomination ballot), I’m pretty happy with the nominations of the top four stories on my ballot, and the other two are solid work that I can’t and don’t complain about. That said, the nominators missed some outstanding work, I think largely on the basis of ready availability.
My prime nomination candidates were:

Maureen McHugh, "Sidewalks" (Omni, Winter/17)
Giovanni de Feo, "Ugo" (Lightspeed, 9/17)
Charlie Jane Anders, "Don’t Press Charges and I Won’t Sue" (Boston Review, Global Dystopias)
Sofia Samatar, “An Account of the Land of Witches” (Tender)
Linda Nagata, "The Martian Obelisk" (Tor.com, 7/17)
Karen Joy Fowler, "Persephone of the Crows" (Asimov’s, 5-6/17)
Tobias Buckell, "Zen and the Art of Starship Maintenance" (Cosmic Powers)

The only one of those stories (besides the Nagata, which made the ballot) that was as readily available as the six stories on the final ballot is de Feo’s “Ugo”, a first story by an Italian writer. The other stories are all outstanding. I would say that the Anders, McHugh, and Samatar stories are particularly big misses, and in each case the story appeared in a print publication that was very easy for a reader to miss. Them’s the berries, I guess. For all that, I have to say that this is one of the best Short Story Hugo ballots in a long time.

I’ll note that all six nominees are women – and that that seems fair, this year. Yes, Tobias Buckell and Giovanni de Feo did work on a level with all these women (Anders, Samatar, Fowler, and McHugh included), but they didn’t do work obviously better.

A Forgotten Ace Double: Gallagher's Glacier/Positive Charge, by Walt and Leigh Richmond

Ace Double Reviews, 71: Gallagher's Glacier, by Walt and Leigh Richmond/Positive Charge, by Walt and Leigh Richmond (#27235, 1970, $0.75)

by Rich Horton

Today's Birthday repost of an Ace Double is in honor of Leigh Richmond, born April 21, 1911.

Walt and Leigh Richmond were a husband and wife SF writing team, who wrote mostly for Analog in the 1960s: about a dozen short stories between 1961 and 1973, of which only one appeared in another magazine, If. These stories were concentrated in one year: 1964, in which fully half the issues of Analog featured a Richmond piece. They also wrote five novels for Ace. Three of these were parts of Ace Doubles. Their last novel was slightly anomalous: Challenge The Hellmaker, published in 1976 as part of the curious and often denigrated "Second Ace Special" series (it was an expansion of a short serial, "Where I Wasn't Going", from Analog in 1963). It would be fair to say that they were "late John Campbell" writers, who really couldn't sell to anybody else (except Don Wollheim). And it would be fair to say, based on what I've read, that this was on merit -- they were pretty bad, luckily for them bad in ways that appealed to the idiosyncratic and often annoying tastes of John Campbell in the 60s. A few of the novels, including Gallagher's Glacier, were reissued by Ace in the late '70s, as revised by Leigh after Walt's death.

(Gallagher's Glacier cover by Kelly Freas)

There is a rather amusing story about their method of collaboration. I've seen this independently attested by several people who met them at the Milford workshops in the mid-60s. Apparently, Walt would sit in his chair and telepathically transmit story ideas to Leigh while she typed. I'll go way out on a limb and say that I personally think Leigh Richmond is the sole author of all these stories, with her husband's name attached for any of a number of possible reasons. (It may well be that the scientific (or pseudo-scientific) ideas behind the stories came out of mutual discussions, mind you.) Leigh was 11 years the elder, by the way, though Walt died in 1977, only 55 years old. (I suppose one might adduce that date as evidence that the collaboration story was true: after all, their last novel was published in 1977, with the 1979 Phase Two being an expansion of a 1969 Ace Double half called Phoenix Ship.) Leigh died in 1996, age 85. It's worth noting that the first of their stories was originally published as by Leigh alone ("Prologue to an Analogue", Analog, June 1961). It was reprinted twice under her name, but in this collection there is no indication that it is not a collaboration, and the title is slightly changed (to "Prologue to ... an Analogue"). Leigh published one other story without Walt, though that was also a collaboration: "There is a Tide", with R. C. FitzPatrick, in the January 1968 Analog, and then one much later novel, Blindsided, with Dick Richmond-Donahue, with her name given as Leigh Richmond-Donahue, so I assume Dick was her second husband. That book came out in 1993 from the obscure publisher Interdimensional Sciences.

So what of these stories? The collection is almost completely negligible. "Prologue to ,,, an Analogue", the longest at 10,000 words or so, was anthologized a couple of times, but I'm not sure why. An advertising agency puts together an ad campaign for a cleaning product featuring 13 witches, and somehow their incantations end up "cleaning up" whatever situation was mentioned on the news program just prior to the ad running -- situations such as attempted bacterial warfare by China (blamed on the US and USSR), slum clearance, a crippled child, etc. And that's pretty much it. Four stories feature inventions by the unworldly Willy Shorts. Three of them are directly about Willy, signalled by the titles: "Shorts Wing" (6200 words, original to this book), "Shortstack" (6700 words, Analog, December 1964), and "Shortsite" (3500 words, Analog, April 1964). In these three Willy is shown coming up with crazy ideas of the sort Campbell liked (at least one reminded me of the Dean Drive), and then his unscrupulous salesman friend markets them. None convinced me. The other Shorts story is "I, BEM" (Analog, June 1964), told from the POV of an AI robot designed by Willy, after the robots have taken over the Earth with kindness, and most humans have left. It's probably one of the best Richmond stories. There is another Richmond story I haven't read, not in this book, called "Poppa Needs Shorts" (Analog, January 1964), and I wonder if it too features Willy Shorts.

The other stories include "M'Lord is the Shepherd" (3100 words, If, September 1965), in which aliens monitoring Earth try to promote human development in order to help defend against another encroaching alien race, but (surprise!) get more than they bargain for when humans prove even more dangerous than the original enemy. The Richmonds get off a couple of cranky jokes -- one plan for holding back human ingenuity once it gets out of hand is introducing television, one of the alien field operatives is called a "teslar": he introduces alternating current, of course (i.e. he's really Nicola Tesla). "If the Sabot Fits ..." (5400 words, Analog, February 1968) comes close to suggesting an original and prophetic idea: computer viruses. All kinds of problems suddenly happen in one city at the same time, all based on computerized operations (from library book distribution to chemical plant operations). They are eventually traced to an educational program which just happens to be sending a binary signal over the TV channel which just happens to be read by local computers as a program. That particular means of introducing a virus is kind of silly (especially as it seems to be pure chance in the story), but the basic idea is at least a bit prescient -- perhaps. Anybody know of any virus stories before 1968? Finally, "Cows Can't Eat Grass" (4800 words, Analog, August 1967), is a problem story about a scout marooned on an alien planet who manages to survive, despite all the local food being apparently undigestible. His rescuers have a hard time believing he's not really a local alien shapeshifter until they figure out the mechanism, which is perhaps a bit strained but OK I guess.

Now for the novel. Gallagher's Glacier (31000 words) is an expansion of a short story of the same title, from the November 1964 Analog. Human colonized space is under the grip of evull corporations. The narrator is a decent space captain who has learned how bad his employers are. He hires Gallagher out of necessity, and is impressed by his abilities as an engineer -- alas, abilities that violate the "book". He also witnesses Gallagher claim an icy asteroid and turn it into a spaceship, the only independent spaceship in the colonies. I assume this ends the original story.

We pick up again a few years later. The narrator runs into Gallagher again on a brutal mining planet. Gallagher, with the help of a standard issue "whore with a heart of gold", shows the narrator the evull side of the company. He naively decides to storm off to Earth to reveal these abuses, and of course gets arrested for his pains. Rescued by Gallagher, he joins a nascent rebellion, meets a pretty girl, and, well, you can see where the story is going. (Complete with implausible tech that only the rebels are independent enough to understand.)

The story is by fits and starts kind of entertaining in a routine way, but mostly unredeemable cliché. That said, I'm not surprised Wollheim published it, and it ranks well above the worst of the Ace Doubles.

A Forgotten SF/Regency Romance: Current Confusion, by Kitty Grey

Current Confusion, by Kitty Grey

a review by Rich Horton

I have enjoyed a number of Regency Romances over the years, particularly those by Georgette Heyer, but any skilled and witty writer can make these plenty of fun. And of course I'm a big fan of science fiction, so when I ran across Current Confusion at a library book sale extra cheap, and when I noticed it was a Regency with an SF aspect, I figured it would be worth a try.

"Kitty Grey" is stated on the jacket copy to be a "pen-name of a long-time editor", and a bit of sleuthing by Denny Lien revealed her to be Mary Elizabeth Allen, who was indeed an editor at Walker, publishers of this book (and many Regency romances). "Kitty Grey" has one more credit, as writer of a set of stories that seem to be a sort of frame for an anthology called A Regency Valentine, and Mary Elizabeth Allen was the editor of another romance anthology with a fantasy twist, All Hallow's Eve, which featured stories by Andre Norton, Morgan Llywellen, Jo Beverly, and Carola Dunn.

Alas, Current Confusion isn't really very good, either as SF or as romance. It is real SF, I will say -- it's a timeslip romance, but more than that, it makes real use of the time travel, and include a bit of play with paradoxes, and time travel in both directions, as well as scientific speculation.

Cassandra Brown is a young physicist working on a "4-D accelerator" at a lab in London, when there is an explosion, and all of a sudden the lab looks very different, and there's a strangely dressed man. Of course, no surprise, she's in 1815, at Font Hall, the seat of Harry, Lord Font. Harry is an experimenter himself, and somehow Cassandra's experiment interacted with Harry's fooling with electricity, and she ended up back in time.

She convinces Harry of what happened, and he begins to help her with the math needed to figure out a way back to her time. But complications arise when Harry has to go to London to visit his widowed sister. Cassandra accompanies him, and deals with things like the assumptions immediately made about her virtue, and her difficulty understanding Regency manners, etc. Harry's sister is still mourning her young husband's death, but Cassandra becomes convinced Harry really wants to marry her, while Harry is trying to set her up with a friend of his. And even worse, there's Harry's slimy cousin Arthur, who inherits his title if both Harry and his young nephew are out of the way. But when the nephew is nearly murdered, somehow Cassandra falls under suspicion ... but luckily she and Harry have figured out the way for her to get back to our time.

Once back there, though, she learns what really happened to the Font family ... and she can't allow that -- so she decides to return again ... and everything devolves into utter silliness, really, though it was already well on the way.

The novel fails as a romance mainly because there are no real sparks between the main characters. It gives a brave try on the SF side, but that doesn't work well either. The writing is indifferent, the plot logic often silly, and Cassandra is a very unconvincing character. Just not a very good novel.

A Little-Known Ace Double: I Want the Stars, by Tom Purdom/Demons' World, by Kenneth Bulmer

Ace Double Reviews, 20: I Want the Stars, by Tom Purdom/Demons' World, by Kenneth Bulmer (#F-289, 1964, $0.40)

Tom Purdom was born April 19, 1936, so I am reposting this review I did long ago of the Ace Double containing his first novel.

(Henry) Kenneth Bulmer is an English writer, born 1921 and as far as I can find out still alive. He was an extraordinarily prolific writer from about 1952 through 1988 or so, publishing close to a hundred novels that the ISFDB knows about, under his own name and several pseudonyms. His most-famous pseudonym is probably "Alan Burt Akers", used for his Dray Prescot series of 37 novels for DAW, from 1972 through 1988. I've haven't read any of those novels so I can't comment on them. He also took over editorship of the classic British original anthology series New Writings in SF after the death of the first editor, E. J. Carnell. Bulmer edited numbers 22 through 30 of that series, from 1973 through 1977. With 30 total volumes, I believe that qualifies as the longest running (in terms of number of books) original anthology series in SF history. Though Bulmer's writing tended to be extremely old-fashioned, even pulpish, his editorial hand showed a certain taste for the New Wave (in among a fair amount of old-style stuff).

The author of the other half of this Ace Double is Tom Purdom. Tom Purdom's first story was published in 1957, when he was 21, and over the subsequent 15 years or so he published some 13 stories in a variety of places (Analog, Science Fiction Quarterly, Amazing, Galaxy, etc.) and 5 novels (three of which were Ace Double halves). It would probably be fair to say that he didn't gain a lot of notice, though at least one story made a Wollheim/Carr Best of the Year collection. Then he fell mostly silent until 1990 -- only two stories, one in Galaxy and one in Analog. Beginning in 1990, however, he began to publish short fiction regularly again, most of it in Asimov's, and much of it very impressive indeed. Stories like "Cider", the three "Romance" stories about a Casanova-like character in a posthuman future, and such stories as "The Path of the Transgressor" and "A Stranger from a Foreign Ship" are quite remarkable.

I should add that I Want the Stars has recently been reissued by Journey Press, and you can buy a copy here: I Want the Stars new edition.

Purdom's I Want the Stars is his first novel, and it is quite short at about 42,000 words. Bulmer's Demons' World is a bit longer, at some 52,000 words.

(Covers by Jack Gaughan and Ed Emshwiller)

I Want the Stars is a rather ambitious novel in theme, though the execution doesn't really match the ambition. The novel opens with a group of 4 humans attacking an alien spaceship. We soon learn that humans have been in interstellar space for only a fairly short time, perhaps a century, after having solved their internal problems. War has been eliminated, psychological problems are mostly solved, lifespans are about 300 years, men and women form free and fluid sexual bonds without jealousy, the economy is a post-scarcity economy. (Indeed, I was in some mild ways reminded of Iain M. Banks's Culture.) Why then this attack on the aliens? Well, these aliens, the Horta, are telepaths who take over and enslave by mind control other alien races.

The attack fails, partly because of the Horta mind powers, and partly because the humans involved are simply not psychologically ready to fight sentient beings. The one man of this group, Jenorden A'Ley, is closest to being ready to fight, and he is also struggling with his knowledge of his mortality (enhanced by the machinations of the Horta), and with his search for real meaning in his life. With the two surviving women, he joins another man and heads off exploring. They discover a primitive race, at roughly 20th Century Earth tech and social levels, ready to destroy themselves with atomic weapons. To their horror, they learn that a mysterious super race -- called, get this, the Borg* -- is offering to teach these people whatever they want to know -- to human morality, this seems terribly wrong. They decide to accept the Borg's offer to join the other race and get their own questions answered, and they head to a Borg planet. where various representatives of any number of alien races are under Borg tutelage. But the humans soon learn that the Borg method of teaching, while interesting, is rather frustrating -- they seem intent on teaching their questioners the history of intelligent life, more or less as a precursor to answering any question.

Jenorden gets impatient and starts visiting various other races to see what they are learning. Then the action starts, as some relatively primitive aliens treacherously attack the humans, hoping to steal their technological secrets. And, shockingly, the Borg refuse to stop the violence. Jenorden and the others must fight for their lives, confronting their own potential for violence, and hoping to learn the Borg secret. The answer is not quite believable, but it is uplifting, and it does quite reasonably offer meaning to Jenorden's life.

Demons' World opens with a group of human Foragers venturing Outside, and discovering an unfamiliar man. Against regulations, they rescue this man from the enormous Demon they encounter. They take the man back to their underground warren. The Controller class takes over, and they learn that the man, called "Stead" from the only word he utters, is an amnesiac. They teach him what they can, mysteriously withholding certain knowledge, particularly about sex. This frustrates Stead as he cannot deal with his attraction to such people as the curiously different Della, one of the leading Controller researchers.

But after some instruction, the ruler, or Captain, of this human nation, the Empire of Archon, assigns Stead to be a Forager with the same group that originally found him. There he meets such people as Honey, who seems to attract him in ways disturbingly similar to Della; and Cardon, a bitter man with a secret; and Thorburn, the competent leader. Stead also learns, on his foraging expeditions, that the Demons that the Controllers believe are simply myths are all too real, and truly gigantic; and he comes to sympathize with the lower social state of the Foragers and the Workers relative to the Controllers.

Stead seems ready to come to new understanding of the real nature of this world, and perhaps to regain his memory, when a foraging mission gone wrong brings the redoubled wrath of the Demons on human society. The only hope is for humans to finally learn the truth of their position in this world ...

It's really rather silly, though the story as told is fast moving and readable enough. But the central secret is pretty obvious from the getgo, and the human society doesn't make a whole lot of sense, and Stead's personal story, particularly his abortive relationships with Della and Honey, is frustratingly handled. To say nothing of the blatant ignoring of the square/cube law. Awfully minor stuff, in all.

*Purdom's Borg don't really resemble the Star Trek Borg very much at all, but I do sort of wonder if a Star Trek writer didn't read this book and decide he liked the name.

Hugo Ballot Review: The Collapsing Empire, by John Scalzi

The Collapsing Empire, by John Scalzi (Orbit, 978-0-7653-8888-9, $25.99, hc, 333 pages) March 2017

A review by Rich Horton

Well, especially for those who have read my previous Hugo reviews this year, let’s cut right to the chase. I enjoyed The Collapsing Empire – it’s a fun book with an intriguing central premise and characters I liked to follow, and some nice action. But it’s not a great book – I don’t think it one of the ten or so best novels of the year. (It’s in the next tranche, along with the other books I reviewed to date (Raven Stratagem excepted – that’s a notch higher).)  There’s no shame in that – Scalzi is a reliably enjoyable writer, and this book is no exception.

I might add that the of the four novels I’ve read from the ballot so far, three are Space Opera by my definition (The Collapsing Empire, Raven Stratagem, and Provenance), and the other (Six Wakes) is also set on a spaceship decades from Earth, though I wouldn’t quite call it Space Opera.. Indeed, we seem to be in something of a Golden Age – or perhaps Silver Age – of Space Opera – the Philip K. Dick Award shortlist included another couple of Space Operas: Alastair Reynolds’ Revenger and Tim Pratt’s The Wrong Stars (with Martha Wells’ All Systems Red sort of Space Opera-adjacent). (No Space Opera on the Nebula shortlist, though!)

(Neither of the two books I have yet to read from the Hugo Ballot are Space Opera, however.)

The Collapsing Empire is set in a future interstellar human society, the Interdependency, in which the inhabited planets are linked by “the Flow” – that is, the familiar wormhole-type shortcuts between star systems. But, we soon learn, the Flow is beginning to collapse. (Hence the title!)

The story follows three people primarily. Cardenia Wu-Patrick is the new Emperox of the Interdependency, as her father dies at the beginning of the book. She has a few problems – she’s inexperienced (even more so than most new Emperoxes (Emperoxi? Emperoux?), she needs to consider marriage and the most politically advantageous men and women candidates are assholes, and, of course, as she soon hears, the Flow might be collapsing. But, luckily, she has the memories and simulated personalities of all the previous 86 Emperoxes to consult.

Kiva Lagos is a noblewoman acting as Owner’s Representative for the House of Lagos as they deliver a shipment of fruit to End, the most isolated of the Interdepency’s planets – at least with the current configuration of the Flow. However, End is undergoing a revolution, and Kiva’s shipment is impounded – obviously on the orders of the Duke, who is actually being advised by a member of the family of assholes Cardenia is dealing with.

The third POV character is Marce Claremont. He’s a Professor of Astronomy on End, stuck there because his father discovered evidence that the Flow was likely to collapse, which got him ennobled – and more or less exile to End. Now that it’s truly clear that the Flow is ending, the Count decides to sends his son back to the ruling planet to advise the new Emperox – but this is not easy because of the political situation on End.

What follows is, really, mostly setup for the following books in this series. And not bad setup – not bad at all. I’ll certainly be reading the rest of the series. This book features lots of action – assassination attempts on Cardenia, derring do in sneaking Marce onto a starship, and plenty of peril on the starship itself, and a whole lot of twisty and nasty political maneuvering. Fine fun work. And the rest of the series has a chance to be even better. This book isn’t bad at all, but it’s not, in my view, Hugo-worthy. (For one thing, fun as it is, it doesn’t really do anything new. That’s not exactly a complaint – it’s a nice variation on a number of familiar themes. But for a Hugo I would like a bit more.)

A Forgotten Ace Double: The Puzzle Planet, by Robert A. W. Lowndes/The Angry Espers, by Lloyd Biggle, Jr.

Ace Double Reviews, 51: The Puzzle Planet, by Robert A. W. Lowndes/The Angry Espers, by Lloyd Biggle, Jr. (#D-485, 1961, $0.35)

A review by Rich Horton

(I'm resurrecting this old Ace Double review today because April 17 was Lloyd Biggle's birthday.)

This qualifies as a pretty minor Ace Double in the scheme of things. The Puzzle Planet is about 41,000 words long, The Angry Espers about 48,000 words. The Angry Espers was also published as a complete novel under the title "A Taste of Fire" in the August 1959 Amazing -- I would assume that was a shorter version, though it's just possible that the whole novel appeared in the magazine.

Robert A. W. Lowndes (1916-1998) is of course primarily known as an editor. He worked mostly for Columbia publishing, and edited a host of magazines in several genres. He was notable for producing quite decent magazines on very limited budgets. Among his better known SF magazines were Future and Science Fiction Stories. He wrote a modest quantity of short stories, and four novels. The other novels are The Duplicated Man, a collaboration with James Blish (much of Lowndes' output was in collaboration), Believers' World, a 1961 expansion of "A Matter of Faith", published as by Michael Sherman (which was the name he used for the magazine version of The Duplicated Man) in Space Science Fiction, and The Mystery of the Third Mine (1953), a Winston juvenile. I might add that the book versions of The Duplicated Man and Believers' World came out from Avalon, the low end publishing firm where Lowdes was editor, and for that matter the The Duplicated Man first appeared in Dynamic Science Fiction, which he also edited.

(Cover by Ed Emshwiller)

Lowndes contributes a brief foreword to The Puzzle Planet in which he mentions John Campbell's assertion that an SF mystery was impossible -- because the writer could too regularly base his solution on super science or some other SFnal quality. Lowndes (as with many other writers, notably Isaac Asimov) responded that of course SF mysteries were possible -- it was simply necessary that the writer reveal to the reader any SFnal tricks he will use -- or perhaps better, make the solution to the mystery dependent on nothing SFnal. The Puzzle Planet is his attempt at such an SF mystery.

Roy Auckland has come to the planet Carolus in order to investigate some difficulties among the archaeological team studying the planet. These difficulties, it turns out, revolve around the controversial leader of the team, Dr. Howard James, who believes that the deserts of Carolus hold evidence of a long past powerful race of aliens. But the current inhabitants, the Vaec, are a pleasant but primitive people, much given to silly practical jokes.

James seems to have been the target of a couple of failed murder attempts. But there is something fishy about those attempts. And then another member of the expedition actually is killed -- in a very unusual way. The solution to the murder turns on unraveling not only the tangled relationships of the expedition members, but the secrets of the Vaec. I suppose Lowndes plays fair enough with the reader, but his mystery just isn't that interesting, and the Vaec secrets are hokum, basically.

Lloyd Biggle, Jr. (1923-2002) was one of the lesser known well-loved writers in the field. By this I mean that he was never really prominent, but that he was mentioned a lot as a writer worth trying out. I myself am not very familiar with his work -- all I have read is a number of short stories. Most of them appeared in the last few years of his life in Analog, and by and large these were not terribly good. The Angry Espers is the first of his novels that I have read. His reputation is as an extremely humane writer. He had a Ph.D. in musicology, and he was a Professor of ? at Eastern Michigan (indeed, he taught there while my mother was a student there, though she never took one of his classes). Many of his SF stories involve music.

(Cover by Ed Valigursky)

In The Angry Espers Paul Corban, a human space pilot, awakens in a hospital on an unfamiliar world. He is surprised that his attendants do not speak, and that they seem disgusted by him. Eventually he is taken to a facility with a number of other people, and he learns to speak the language of this planet. He learns that the planet is full of powerful "espers", and that he is regarded as a subhuman because he has no such ability. He has been confined to the equivalent of a mental institution, and his fellows are mostly natives who are truly mentally deficient in that they should have had esp powers but do not. He nearly despairs, despite beginning to have feelings for a sympathetic female doctor.

Then he discovers one or two more Earth humans in the institution. He lets some of the doctors know that he comes from another planet, but he (and the sympathetic doctors) have not figured on the terrible prejudice of most of the Espers against non-esps. A war is launched against the worlds of the Terran federation. The second section of the novel covers the war in some detail, mostly through the viewpoint of people connected to Paul. It is a terrible war, with Earth's technological superiority (a result of not relying on ESP for everything) only allowing them to slow the inevitable advance of a people that can anticipate every move, that communicate instantaneously, that can teleport, etc.

The third section offers some hope, rejoining Paul and his doctor girlfriend as they make a desperate attempt for political reform on the Esper planet, supporting a less-prejudiced government. Naturally they win, but the implication is a bit scary, because Biggle stacks the deck a bit in their favor (given his initial setup). One can't help but think that the real result would be extermination of Earth. (Biggle also cheats, to my mind, by allowing Paul (and by implication all humans) to have latent esp powers that he gains in moments of extreme stress.)

It's not a terrible novel, but nothing particularly memorable either. I shall have to track down a copy of one of Biggle's better known novels to try.

(Cover by Leo Summers, image courtesy of Galactic Central)

Hugo Ballot Review: Provenance, by Ann Leckie

Provenance, by Ann Leckie (Orbit, 978-0-316-38867-2, $26, hc, 439 pages) September 2017

A review by Rich Horton

Provenance is Ann Leckie’s fourth novel. The first three (Ancillary Justice, Ancillary Sword, and Ancillary Mercy) make up a trilogy about an “ancillary” of the Imperial Radch who becomes involved in a conflict between two versions of the Emperor. This new novel is set in the same universe, at roughly the same time, but outside the Radch. It is engaging and fun but frankly seems just a little thin next to the Ancillary series. There’s no crime in that – I think it’s a good thing when an author reaches the point where her readers are glad to read each of her books, and are satisfied by them – but also admit that they are not each equally as good (or progressively better). Solid and enjoyable work is nothing to sneeze at. That said, if I’m saying that, it probably means I don’t consider Provenance one of the best five or six SF novels of the year – and that’s true. But it doesn’t disgrace the award by its nomination either – and, indeed, it fits with all the nominees I’ve read so far, in being enjoyable and entertaining but not exceptional.

The main character is Ingray, a decidedly privileged young woman from the planet Hwae. Ingray’s mother Netano is a very powerful figure on Hwae, and Ingray has long believed that her brother Danach is her mother’s preferred heir. (In using terms like “young woman”, “mother”, “brother”, and “heir” I’m glossing over some interesting complexities of the social and gender organization on Hwae, including that people choose genders at roughly majority, that there are three choices (he, she, and e), that children (at least in powerful families) are often adopted), etc. etc.) So Ingray, in a desperate effort to impress Netano, has arranged to retrieve Pahlad Budraikim, the disgraced child of one of her mother’s rivals from “Compassionate Removal”, a ghastly seeming prison planet used by the Hwae in lieu of the death penalty. And now she has the person in question – except e claims to be someone else entirely. And Ingray is broke.

So Ingray ends up, a bit fortuitously, with a trip back to Hwae on a ship captained by one Uisine. But that has its owned complications – in particular, Uisine is wanted for stealing his ship from the Geck. So the Geck want him, but technicalities allow Uisine to take Ingray back home. Uisine is guilty, with extenuating circumstances – he is one of a group of humans who live on the Gecks’ homeworld, but who must be adapted to their aquatic lifestyle. And his gills never came in.

Complications keeps piling up. There is Ingray and her problems, Uisine and his, and “Garal”, as the person Ingray thought was Pahlad, Burdraikim and eir problems. Things don’t get easier back on Hwae – Ingray gets involved with some foreigners who want to study an area of “ruin glass”, which has implications for Hwae’s own history, and its accepted beliefs about that history, which are pretty fundamental to their culture. Then someone is murdered. And another group, from the planet Omkem, invades and kidnaps a group of children, looking for access to stargates …

There’s a lot going on, and it’s pretty involving stuff. It’s mixed with worthwhile cultural details, varying from human group to human group, and complicated further when aliens are involved. There’s some believable and fun action. The characters are engaging. The exploration of gender roles on Hwae, intertwined interestingly with class, is nice (there are parallels with the way gender is chosen in J. Y. Yang’s Hugo-nominated novella “The Black Tides of Heaven”, and frankly I think Leckie’s depictions of gender selection more interesting than Yang’s). So, then, why did I say it sometimes seems a bit thin? One reason is that everyone seems basically an early 21^st Century human, and lots of the background details of their lives don’t differ a lot from our lives. Other than that, the whole book, while remaining fun, does seem to work out a bit conveniently. It all adds up to a book I enjoyed plenty, but a book I that I don’t quite think stands among the very best novels of 2017.

(I’ll caveat this by noting that while I know and am on good terms with a great many SF writers, including several Hugo nominees this year, I probably know Ann Leckie a bit better than some of the others, for the simple reason that she lives in a neighboring suburb to mine, that we sometimes go to the same grocery store, that our kids went to the same high school at about the same time, and that she, for example, signed my copy of Provenance at a local independent book store. So take anything I say with whatever heaps of salt you wish.)