Friday, July 12, 2019

James Chambers, Resurrection House (2009)

Chamber, James. Resurrection House. CA: Dark Regions Press, 2009

Resurrection House at Goodreads

James Chambers's website
Dark Regions Press website

Overall     6.5/10


I purchased a copy of James Chambers's Resurrection House alongside many other books directly from Dark Regions Press, a specialty horror press that produces attractive books. It was bought on a whim--I'd never even heard of James Chambers--but taking risks with reading is important, not just to potentially help discover new pleasures, but also to be more aware of what is available. In a market saturated by familiar names, many worthy reads are left overlooked.


Resurrection House is Chambers's first collection, and followed only by The Engines of Sacrifice in 2011. It is the third installment of DRP's series New Voices in Horror, which also includes collections by Michael Kelly, Angeline Hawkes and Steve Vernon. The volume is illustrated by Jason Whitley, with an introduction by C.J. Henderson.

I didn't care for the introduction, an excessively exalting piece that, rather than reflect on the work itself, astounds at how a normal middle-class person can write such dark fiction. The style of humour just isn't my thing.

The fiction itself is a good mix, selecting nine very different stories, to help showcase the author's versatility. Overall I enjoyed the collection. The two strongest stories are, without a doubt, "Mooncat Jack" and "Resurrection House," which provide a good execution for interesting premises. I also quite enjoyed "The Last Stand of Black Danny O'Barry" and "Refugees." My only issue with Chambers's writing in general, is the focus on abstractions, particularly in "Gray Gulls Gyre," which would otherwise have been a stronger piece.


Mooncat Jack     7/10
Mooncat Jack. MD: Die, Monster, Die! Books, 2002
Following the disappearance of some neighborhood children, a twelve year-old boy grows increasingly aware of rumours of "Mooncat Jack," a figure who takes unwanted children away. I tend to enjoy coming-of-age stories that employ an element of the supernatural, since the world is a strange and fascinating place to a kid. A good story that is even touching by the end. Though I anticipated the ending, it nonetheless had an affect on me.


Trick     6/10
No Longer Dreams, edited by Danielle Ackley-McPhail, Lee Hillman, L. Jagi Lamplighter and Jeff Lyman. Life Circle Books, 2005
An elderly widower is preparing to hand out treats for Halloween. He had lost his wife the Halloween before, and blames the children, believing them to be vessels of evil. This Halloween he is preparing his revenge. A quiet tale, not entirely original but satisfying in its briefness. The story in its entirety is available right here, on the author's website.


Gray Gulls Gyre     5/10
Dark Furies: Weird Tales of Beauties and Beasts.  ed. Vincent Sneed. MD: Die, Monster, Die! Books, 2005
New Age healer Jennifer Truth returns to her childhood town at the request of an old friend's dying father. He believes she can save him from the spirit that has manifested itself in the gulls keeping vigil on his house. A good story overall, marred by some abstractions, and dry, expository dialogue. A little tidying would make it a far better read. The gulls themselves make for strong imagery. The dying man's departed wife's name, Marion, hearkens back to Robert Bloch and Hitchcock, Marion Crane from Psycho, a character named after a bird who awakens the passions of a man who performs taxidermy on our avian friends.


Refugees     7/10
Allen K’s Inhuman Magazine #1, July 2004
(Originally published as "by James Chambers and Vince Sneed," the latter is not mentioned in this printing, as sole authorship is given to Chambers.)

A small town high school outcast befriends the strange new girl who has recently moved to the sea-side town, bonding over their common interest in marine life. Despite the predictable nature of such a story, the emotional investment is present throughout, making it among the better reads in the collection.

The opening sentence is an example of a troublesome abstraction: "The odor of the bundle laid out across the back seat comes in waves that wrap me like the scent of guilt." (p. 53) I suppose this means the narrator is feeling guilty as a result of that bundle, but this is not what the sentence actually says. I like the image of the odor coming in waves, as we assume a moving vehicle, perhaps with windows open, and the scent strikes from time to time depending on movement or speed or whatnot. That's a good opening image, but here it is unfortunately tainted by a purple simile.


Resurrection House     7/10
The Dead Walk. Vincent Sneed, ed. Baltimore, MD: Die, Monster, Die! Books, 2004
An aimless young man purchases Resurrection House, a property where the dead become animated. The story is patient with its premise, presenting us character and mystery before revealing much about what Resurrection House actually is. Well constructed, the details fall nicely into place. Though the story relies on some pre-climax expository dialogue to tie up loose ends, this does not harm an overall good short story.


The Feeding Things     5/10
Cthulhu Sex, Vol. 2 #23, 2006
Womanizer Malcolm is gifted the power to seduce any woman he desires. In return, his seed destroys his lover and gives immediate birth to a creature that settles dormant in the sky. Not a bad story, but among the weaker ones.


The Last Stand of Black Danny O'Barry     7/10
Weird Trails. Michael Szymanski, ed. Lockport, NY: Triad Entertainment, 2002
"Go to the parlor two doors down from Black's Melodeon. Knock twice. Ask for Ling." (107)

The tale of Black Danny O'Barry, a rough and tough cowboy with a hidden fortune in gold who spends his nights drinking and whoring. Local bartender tells of the evening O'Barry visited the celebrated mysterious prostitute known as Ling. One of the stronger stories in the collection, with good detail and grounded writing.


The Tale of the Spanish Prisoner     7/10
WarFear. Bruce Gehweiller, ed. Marietta, GA: Marietta Publishing, 2002
Learning the strange tale of his his great-grandfather, a boy becomes a renowned composer and tries to re-create the strange events in his compositions, alienating the music community as the music becomes dark and terrifying. Another solid story.


Vicious Swimmers     6/10
Resurrection House. CA: Dark Regions Press, 2009
A group of soldiers infiltrates a marine research centre following an odd occurrence. An interesting concept but a familiar plot; not among the better stories.


Five Points     6/10
Resurrection House. CA: Dark Regions Press, 2009
A pair of New York City police officers investigate the odd occurrences in a dingy bar, and soon find that patrons have become possessed. The longest story in the collection, this one I found to be average, and overly long. Like "Vicious Swimmer," it was not previously published.



For more of this week's Friday's Forgotten Books, please visit Todd Mason's blog.

Thursday, May 30, 2019

Ray Bradbury, The Martian Chronicles

Bradbury, Ray. The Martian Chronicles. New York: Doubleday, May 1950.

The Martian Chronicles at Goodreads
The Martian Chronicles at ISFdb


Overall Rating:     7.5/10


There are a number of good articles on this book readily available, and my comments will be brief.


Space colonization stories reflect colonization experiences on Earth. Bradbury references human experiences, sympathizing consistently with the colonized. Here, humans are the aggressors, and though there is some sympathy for the individual, there is little sympathy afforded the human race. Characters are most often representative of different attitudes, and rarely fleshed out. Often a human is a flat out aggressor, as in "The Off Season," or a sympathizer, as in Spender from "--And the Moon Be Still As Bright."

Many of the stories were re-worked to fit the chronology, some fitting in fairly well, while others obviously re-tooled for the purpose of inclusion. While there is a certain amount of consistency, the overall effect is jagged, as there are great variances in tone and approach. What is consistent is the progression of human colonization of Mars, and a kind of circular pattern takes shape. Humans fail at their conquest, then gain the planet by inadvertently killing the inhabitants through disease, establish their own culture while treating the previous culture disrespectfully, until finally they must abandon the planet, only to later leave on Mars the seed to develop a new civilization. Vulnerable on Mars, this new civilization appears ripe for eventual conquest, and the pattern can repeat.

Vignettes are included between some of the stories. These are slight, some more effective than others, and I won't be commenting on these individually.


Ylla     7/10
Maclean's Magazine, 1 January 1950. (As "I'll Not Ask for Wine.")
A Martian woman named Ylla tells her husband Yll of an odd dream she had. In that dream, a rocket ship from Earth has descended to Mars, carrying two odd-looking men. Though Yll laughs at the silliness of this dream, he is also uneasy. Ylla continues to dream, and Yll's discomfort increases. A sympathetically-told story. Character driven, it could have been set on any countryside on Earth. The story would have to be character driven and detailing human experience in order to be purchased by the popular Canadian political and current affairs magazine, Maclean's. A good opening story, as it gives the collection's only potential for unity between the two races.


The Earth Men     7/10
Thrilling Wonder Stories, August 1948. pp 69-76
The second human expedition to Mars carries four men. Expecting great honours and a treatment of champions, they are instead welcomed with indifference, passed on from one household to another. Far lighter in tone than "Ylla," it is a little odd as it presents the martians as being somewhat loopy, whereas the humans are comically arrogant. Nonetheless an enjoyable story.


The Third Expedition     7/10
Planet Stories, Fall 1948. pp 56-66. (As "Mars is Heaven!")
During the third expedition to Mars, humans have become incautious and not too logical, in this story that borders on fantasy. Members of the expedition land on a Mars from the bygone Earth year of 1926, and soon encounter deceased family members, leading them to the conclusion that Mars is heaven. Not quite, as the reader suspects. This story was apparently re-worked considerably to fit the scope of The Martian Chronicles, but rather than push the setting to a later decade, Bradbury instead created a form of longevity that is otherwise non-existent in the rest of the stories.


—and the Moon Be Still As Bright     6/10
Thrilling Wonder Stories, June 1948. pp 78-91. (As "...and the Moon Be Still As Bright")
The fourth expedition to the red planet informs its crew that Martians are all but extinct, thanks to the diseases brought over by the earlier expedition, namely chicken pox. While many of the crew act like freshman university students on a resort during spring break, archaeologist Spender instead empathizes with the Martians, and on their behalf takes a stance of vengeance. Emulating and acknowledging the actions of Europeans colonizing the Americas, Bradbury's sympathies are with the indigenous, and a Cherokee astronaut, likely among the first indigenous astronauts to appear in literature, appropriately named Cherokee, makes an appearance. The story is a bit overlong but does its duty to bring the book to its second act, whereas Martians are less loopy and the overall tone of the work less playful. The satire on human materialism contrasted with the spiritual Martians allows Bradbury to make some still relevant points on consumerism and cultural insensitivity.


The Green Morning     6/10
The Martian Chronicles. New York: Doubleday, May 1950.
Despite having difficulty in getting accustomed to the thin atmosphere on Mars, Benjamin Driscoll is recruited to elevate the atmosphere to Earth standards. In an isolated area, he begins to plant the seeds that will help make the planet habitable to humans. Written specifically for the collection, this is among the weaker stories, and reads like both filler and a convenience in explaining human adaptability to the planet.


Night Meeting     6/10
The Martian Chronicles. New York: Doubleday, May 1950.
Another story written for the collection, it fits better in the whole of the work than does "Green Morning." Here a simple blue collar Earthman encounters the spirit of a Martian.


Way in the Middle of the Air     6/10
The Martian Chronicles. New York: Doubleday, May 1950.
A hardware shop owner and his buddies are shocked to learn that the black people of the south are making their way to Mars. The only story in the collection to be set on Earth (aside form the descriptive piece ""There Will Come Soft Rains" and a vignette), it is in some ways progressive, despite being dated, but the characters are stock, providing an outlet for Bradbury's point. The story does fit in well with the notions of oppressed races, though ideas are not followed up later, as we don't actually see any black people on Mars. The story was controversial upon the release of The Martian Chronicles, where it first appeared, and was removed from many earlier editions.


Usher II     6/10
Thrilling Wonder Stories, April 1950. pp 95-103. (As "Carnival of Madness")
As a result of the 1975 ban and burning of all fantastical fiction, such as the works of Edgar Allan Poe, Mr. Stendhal has a replica of the house of Usher built on Mars. Pursued again by the moral authorities, he uses the house as part of his vengeance on society. A good story on its own, but doesn't seem to fit the collection, and was likely re-formatted with the Mars slant. It is a predecessor and companion, of course, to Bradbury's Fahrenheit 451, dealing with censorship and government-sanctioned book burning. The original title, "Carnival of Madness," is more appropriate than "Usher II."


The Martian     8/10
Super Science Stories, November 1949. pp 72-79. (As "Impossible")
An older couple settle on Mars to get away from Earth and the memory of their lost son, Tom. Late one night a figure appears, and Tom has returned. The father quickly learns the truth, that a telepathic Martian can take on the role of a lost one, via the memories of the living. To me the most powerful story, as the tragedy in not only that of the couple who must again lose their child, but also this unfortunate Martian, who will forever be the object of someone's grief. Likely heavily re-fitted to suit the collection, the original, titled "Impossible," likely has little to do with Martians and possibly set on Earth. This one I will hunt down.


The Off Season     7/10
Thrilling Wonder Stories, December 1948. pp 99-104.
Sam Parkhill, a member of Captain Wagner's expedition from "--And the Moon Be Still as Bright," sets up the first hot dog stand on Mars, expecting to earn a fortune. Yet when a martian comes to pay a visit, his fear grips reason and he kills the visitor, which leads to an all-out chase, as other Martians appear. Though the humans in the story are barely characters, the tragedy of useless Martian deaths is effective.


The Silent Towns     7/10
The Martian Chronicles. New York: Doubleday, May 1950.
In an abandoned Mars, the last man in a deserted town hears the ringing of a phone. Missing the call, he too decides to try connecting via the Martian phone system (using a land line), and fantasizes meeting an attractive woman. A comical and enjoyable last man story, though adds little to the whole.


The Long Years     7/10
Planet Stories, Spring 1949. pp 51-58. (As "Dwellers in Silence")
Following years of living alone in a Martian cave with his family, archaeologist Hathaway from the fourth expedition discovers a ship is returning to the red planet. Having been in the field with his family when Earth was abandoned, he and his family took to the caves where they have been living since. Something is off, however, as the reader is subtly informed. A good story with a surprisingly bittersweet final image.


There Will Come Soft Rains     6/10
Collier's, 6 May 1950.
An automated home continues to function in a post-apocalyptic setting. Entirely descriptive, the piece is quite haunting. Interesting that the dad of the house has his shadow burned by the atomic blast while mowing the lawn, when later we learn that lawn mowing is a function of the automated house. Perhaps it was a hobby?


The Million-Year Picnic     6/10
Planet Stories, Summer 1946. pp 95-100.
A family lands on Mars, escaping the war-ravaged Earth. A fitting end to the collection, though a little sentimental for my taste.

Thursday, May 16, 2019

Brian Aldiss, Who Can Replace a Man? / Best Science Fiction Stories of Brian Aldiss (1965)

Aldiss, Brian. Best Science Fiction Stories of Brian Aldiss. London: Faber and Faber, 1965.
______. Who Can Replace a Man? New York: Harcourt, Brace & World, 1966.
______. Who Can Replace a Man? New York: Signet, November 1967. (My edition)

A concise bibliography at ISFdb
Who Can Replace a Man? at Goodreads


Rating:     7.5/10
Signet, 1967


In a small white box in my dad's basement, I recently discovered a selection of books I enjoyed as an early teen. At that time I experienced a relatively brief affair with science fiction, focusing mostly on short stories of the 1950s through the 1970s, and some more contemporary 1980s novels. Among my favourite short story authors was Brian Aldiss, and of his collections I preferred this one. So I thought I would re-visit, thinking I would cringe at my immature tastes, but to my pleasant surprise, I breezed quickly through the book and, with some minor exceptions, enjoyed the collection perhaps even more under the guise of my more mature self. Nuances I likely did not catch as a youth, and a greater appreciation for dark fiction, no doubt adding to my enjoyment.

The collection is a good range of science fiction story sub-genres of and 50s and 60s: distant future, near future, hard science, political fiction, cold war paranoia, elements of fantasy, new wave and dark humour. The one constant is that each story contains some element of the dark, with an emphasis of pessimistic depictions of the far future, ill treatment of human values and individuality, and the ill consequences of a mechanized future. An argument can be made that these are the best of Aldiss's pre-1965 stories, as the original title suggest, with my favourites being  "Outside" and "Who Can Replace a Man?", along with "Old Hundredth", "Not for an Age" and "Man in His Time." The collection, however, also includes two pieces that can be excised to improve the whole: "Psyclops" and, mainly, the semi-adventure paranoia piece "Basis for Negotiation."


Who Can Replace a Man?     8/10
Infinity Science Fiction, June 1958. pp 58-66 (as "But Who Can Replace a Man?")
On a cultivation farm in a dystopian future, the agricultural robots learn that humans have become extinct. Their logical minds seek a plan of action, and a small group leaves for the city. A bleak story dealing with the idea of power and anticipates man's perpetual rule over machines (at least while machines have limited AI), Aldiss manages to infuse humour in what could have become a very dated robot story, but instead remains quite solid despite the obvious 1950s design of these over-sized machines. The story infuses robots with recognizable human traits, and has them, in their own dry logic, adopt an all-too human approach to conquest. In terms of technique, the pacing is excellent, as the quiet opening escalates nicely toward chaos, until we reach that great finale.

This story is generally highly regarded and readily available online.


Not for an Age     7/10
The London Observer, 9 January 1955.
Middle aged professor Rodney Furnell has become aware that he is perpetually re-living one single, average and mundane day of his life. Though he is unable to change his actions, his thoughts are independent, and he contemplates both his situation, and the crowd of faces surrounding each scene, as some future audience is watching each moment play out.

Little detail of the future society is given, only what is essentially necessary for the story. Aldiss is not exploring the world, but rather the individual and his tragic circumstances. As in many of these stories, the twist only helps to make a tragic situation even worse.


Faber & Faber, 1965
Psyclops     5/10
New Worlds Science Fiction #49, July 1956. pp 30-39
A father tries to telepathically warn his unborn son of some great impending danger.

This is among Aldiss's many experimental new wave pieces, first published in the new wave advocate New Worlds (edited by John Carnell). I did not care for the story when I first read it as a naive and impressionable teen, and still care little for it as a jaded adult. It is not a bad idea for a story, but some of the fetal ruminations, particularly at the start, are plain bad, and much of the incidental information dropping by the father, though required for the story, is awkward and unsubtle (How do I explain to unborn child and, more importantly, the reader, that I am miles away and he is drifting off course! Whadda ya know: I just did!).


Outside     8/10
New Worlds Science Fiction #31, January 1955. pp 29-37
Six people occupy a house. Their only communication with the outside world is via "the store," a closet where every morning they find food and other random necessities or luxuries. This morning there is no food, and one of the six, Harley, begins to question their circumstances, and tries to recall why they are confined to this space. An excellent science fiction suspense story, a product of cold war fears and paranoia. Great pacing and suspense, Aldiss sets up his clues quite nicely, resulting in an effective ending.


Dumb Show     6/10
Nebula Science Fiction Number 19, December 1956. pp 58-66
In the midst of a future war, Mrs. Snowden and her granddaughter live their meager lives in Mrs. Snowden's childhood home. As the artillery for this war is sound, all is silence and the landscape is diminishing as structures collapse. Another dark Aldiss story, made darker by its finish, and one among many featuring the potential horrors of war, as weapons technology becomes both more advanced and more creative. Though a good story, the characters are overshadowed by the theme, whereas stories such as "Outside" and "Not for an Age" manage a consistent balance between the two.


The New Father Christmas     7/10
The Magazine of Fantasy and Science Fiction, January 1958. pp 69-74
Yet another dark future tale. In the year 2388, an elderly couple who oversee a mechanized factory, along with three "tramps" illegally boarding inside, appear to be among the last remaining humans on Earth. Christmas morning they gather for tea and discuss the changes around the factory, and their belief in the New Father Christmas. Claustrophobic and haunting, another technological horror story. Appropriately, the adults act like children, and we see how the world has progressed physically, whereas humans have digressed.


Ahead     7/10
Science Fantasy v6 #18, 1956. pp 96-109 (As "The Failed Men")
In the distant future a group of humans known as the Failed Men have buried themselves underground. The elite group, the Paulls, have meanwhile collected volunteers from different time periods to help them in handling this population. One man from their past (though our future) has become obsessed with why the group has "failed," and what they failed at, but the translating machine used to communicate with them can only translate literally, and the words lack meaning. An affecting and oddly powerful story. Re-titled "Ahead" for this collection, which in the story is what the narrator uses as reference to going to the future, its original title is far more accurate, as the story does not deal with the future, but with the isolation of this particular group, and the lack of clarity surrounding their failure.


Poor Little Warrior!     7/10
The Magazine of Fantasy and Science Fiction, April 1958. pp 125-130
In the distant future a man travels to the Jurassic age to hunt brontosaurus. A rare second person stream of consciousness story, effectively written as it adopts an aggressive tone and sarcastic title. The story features an average man, unhappy with his life, who clings to the hopes of escape via a marketing brochure. He is less a victim of the Jurassic as he is of his life, and cannot escape either. The story holds up well and has some cleverly thought out phrasing, such as: "...all destined in that awful jar-full movement to turn into bowel movement." (79)


Man on Bridge     6/10
New Writings in S-F 1, John Carnell, ed. UK: Dennis Dobson, 1964.
In a future where free thinking is prohibited and intellectuals are persecuted and forced to live in camps, a group of "cerebrals" has developed a technique of transforming men into entirely logical thinkers. One heavily lobotomized man, aptly named Adam X, claims to be a new breed of man. Though set seemingly in the far future, the story maintains an impression of the past, as it is heavily referenced with recognizable symbols of the past, such as military camps, the term "prole," and the rural farmhouse inhabited by our protagonist's family.


The Impossible Star     7/10
Worlds of Tomorrow, August 1963. pp 143-162
Four astronauts are stranded on a planetoid orbiting an incredibly massive and unusual star. As they attempt to repair their ship and communicate with the other two ships of their survey party, the members become increasingly aggressive toward one another. A good combination of hard science and psychological suspense. In this story neither space nor humanity is enviable, and the two combined is disastrous.


Basis for Negotiation     5/10
New Worlds Science Fiction #114, January 1962. pp 50-90
In a near future nuclear age, China declares war on the U.S. Britain declares neutrality, which results in civil tensions and inner turmoil. A university professor travels to London to oppose the Prime Minister's stance.

An overlong and dated story, very much a product of its time. It is saved by decent writing, an interesting eventual bit of irony (though after thirty-plus pages), and the fact that Aldiss does not preach but tosses out a couple different viewpoints. Each opinion is consistent in its claim that Britain is ruined, they differ only in the detail of which set of politics or social class did the ruining. Aldiss also hammers these points until they become dull. Interestingly, after its original printing in 1962, the story was included in three separate collections/anthologies by 1965, and in an omnibus collection in 1969, after which it fell off everyone's radar. It might only be remembered in the future for having been selected for inclusion in Aldiss's first Best of collection. (The anthology reprint was for a book edited by John Carnell, then editor of New Worlds where the story first appeared. This can imply that Carnell and Aldiss were really the only two who saw value in the story. Since they did work closely with New Worlds, perhaps it came about from a discussion or proposal of some kind. No other editor seemed interested in keeping it in print.)


Old Hundredth     8/10
New Worlds Science Fiction #100, November 1960. pp 62-73
Once again Aldiss presents us with a distant future Earth, only on this Earth there are no humans. At least not in form. Having long since transcended matter, humans exist as wisps of light, or as music or other forms of non-matter. On Earth dwell creatures to whom humans have granted sentience on their experimental Venusian labs, as Venus had long ago taken the place of the moon and revolves alongside Earth around the sun. We follow re-purposed giant sloth Dandi Lashadusa, a musicologist studying the "musicolumns" that house those who have trans-substantiated into music. Quite detailed and complex for such a short story, Aldiss succeeds in creating an unusual, potent world. With a touch of fantasy, Aldiss makes something so potentially abstract into a world quite concrete.

Unlike "Basis for Negotiation," "Old Hundredth" has been reprinted consistently throughout the decades since its initial publication. It was included in Judith Merrill's The 6th Annual of the World's Best SF (NY: Simon & Schuster, October 1961).


A Kind of Artistry     7/10
The Magazine of Fantasy and Science Fiction, October 1962. pp 6-27
In the far flung future, humanity has reached deep into the galaxy, taking on new knowledge and new ideas, and in doing so taking on new forms; only Earthborns retain some semblance of the original human being. One such man, Derek Flamifew Ende is tasked with making contact with the Cliff, a sentient asteroid that has crashed into a distant planet.

A complex story of ideas. The title refers to both suffering and happiness being "a kind of artistry." Humans have lost both purpose and drive as they have become self-preservationist. Derek lives with his "Mistress" in the matriarchy of old Earth, and while he is devoted to her, he is in constant need of being away from her. The secret of their relationship, which we learn late in the story, reveals how inward and self-interested this future society has become.


Man in His Time     7/10
Science Fantasy, April 1965. pp 5-32
Jack Westermark, the sole surviving astronaut of a British expedition to Mars, returns with an odd condition: He is living 3.3077 minutes in the future. The theory is that each planet exists within its own time frame, and while some might be ahead of Earth time, others might be lagging behind. (It is not explained why the affected astronaut returns to Earth maintaining Martian time, rather than re-adapting to Earth time, as depicted in a similar situation in the Christopher Nolan film Interstellar.)

The story is more philosophical than scientific, and above anything it is character driven. The plot is set up through a series of sequences, most of which are set at Westermark's home, and much of it through his wife's point of view. It was refreshing to read a story, among a number of heavily male-centric pieces, focusing primarily on a woman (uncommon for the period), and science aside, in a sympathetic and all-too human way. As interesting as the premise may be, it is presented as a tragedy, for both the victim and those around him. A short story finalist of both the Nebula and Hugo, it was included in Nebula Award Stories 1967 (co-edited by Aldiss and Harry Harrison).


For more of this week`s Friday's Forgotten Books, please visit Todd Mason's blog.

Friday, December 21, 2018

Alan Dean Foster, Sentenced to Prism (1985)

Foster, Alan Dean. Sentenced to Prism. New York: Del Rey/Ballantine, September 1985


Sentenced to Prism at ISFdb
Sentenced to Prism at Goodreads

Rating:     7/10


Del Rey/Ballantine, 1985
As a pre-teen in the mid-1980s, I read a modest of amount of science fiction, and for a few years enjoyed the campy works of Alan Dean Foster. I read about thirty of his books published in the 1970s up until about 1990, including a number of the novelizations. The books are quick reads and I found them to be colourfully imaginative, though many I found, even at that time, to be quite dull (Cachalot and Voyage to the City of the Dead come to mind). Eventually I abandoned his works for more complex books, and soon stopped reading science fiction novels, aside from a book or two a year. Then a couple of weeks ago I was rummaging through my parents' basement and came across a number of his, and other science fiction authors', books. And reminiscing, I thought why not.

I picked up Sentenced to Prism, which, though I've owned for many years (bought for $2.25 at the local secondhand bookshop that no longer exists, so the markings on the first page inform me), I have never read. Perhaps it was the glaring yellow cover that kept it at bay, or most likely I got tired of Foster's books before I got around to this one. Proof of the latter are the handful more paperbacks of his I came across, which I've never opened up.

What I found with Sentenced to Prism was a pleasant surprise: an enjoyable novel despite the light writing, two-dimensional characters, and seemingly lack of depth. The novel deals with an arrogant company research man named Evan Orgell who is sent to a newly discovered planet, Prism, to uncover the fate of a research team which has stopped communicating with home base. Orgell soon learns what a unique planet this is, and, following many unusual dangers, meets up with some native species with whom he forms an alliance. More than the plot, and certainly more that the non-character of Orgell, who we follow throughout the bulk of the story (aside from a couple of glaring point of view shifts), what makes the read a compelling one is the planet and its various life forms. Foster has the reputation for creating interesting worlds and species, but I don't recall his work ever being this imaginative and immersive.

New English Library, 1988
In addition to the interesting world is the late development of some thematic links, which help to elevate the book in the last few chapters from being a simple plotted fare developed only for Foster's imaginings to a narrative that contains, though simplistically, a point. The notions of "Associatives," of community and collaboration, is brought full circle when Orgell and his new friends encounter an unusual, chaotic creature that has its own interpretation of what a community ought to be, and what it can achieve. Furthermore, the idea of the alien Associative challenges Orgell in his own understanding of the purpose of community. The novel fails in that Orgell is so under-developed (we are told endlessly that he is selfish and arrogant, yet since the moment he lands on the planet he appears to be selfless and to understand the importance of team-work in the face of survival), that there is no real transformation from human-thinking to embracing another culture. This is no Dances with Wolves, or say, Toy Story. It is instead a contrived novel that is oddly a pleasure to read.



For more of this week's Friday's Forgotten Books, please visit Patti Abbott's blog.

Thursday, December 13, 2018

Joan Samson, The Auctioneer

Samson, Joan. The Auctioneer. New York: Simon & Schuster, January 1976
______. The Auctioneer. New York: Avon Books, January 1977 (my edition, pictured)


The Auctioneer at ISFdb
The Auctioneer at Goodreads

Rating:     8/10


Well received critically and commercially upon its initial release, The Auctioneer has since fallen into semi-obscurity. This unfortunate fate is partly due to the author's death shortly after the novels's publication, and the absence of a second book. I understand that Joan Samson was working on a second novel when she sadly succumbed to cancer shortly before the age of forty. While some novels persist in part because they are the author's only published work, such as John Kennedy Toole's A Confederacy of Dunces (1980) and, most notably, Harper Lee's To Kill a Mockingbird (1960; for many years at least, prior to the publication of Go Set a Watchman in 2015), there was no mystique around this author, nor an attached Pulitzer, to help keep this first and only novel in the literary consciousness. Regardless, the novel is still respected by those who have read it, and its near-cult status will ensure that it will continue to be read.

Or so I hope.

The novel focuses primarily on a family living in the fictional rural town of Harlowe, New Hampshire, comprising of John Moore, his wife Miriam ("Mim"), their four year-old daughter Hildie, and "Ma," John's elderly mother. Having lived their entire lives in that community, amid the hardships of rural farming, Samson explores the affects of a charismatic auctioneer, a contrasting outsider, who moves into the community and progressively takes over. By holding regular auctions to raise funds for the benefit of the town, Perly Dunsmore is able to manipulate those funds and the people they are meant to serve. Professing the values of the "old ways" in a town built on tradition, Dunsmore is in fact quite modern and progressive, albeit amoral, in a business sense, as the reader discovers in the latter parts of the novel.

The Auctioneer blends many elements into its narrative. It acts as mystery, thriller, horror and even family drama. The scenes of basic survival, as the family members struggle to maintain their livelihood when they have been stripped of most of their belongings, is for me the most vivid. With family dynamics at the fore of the drama, Dunsmore appears seldom in the novel, which is to the story's benefit. Dunsmore unleashes the tensions, but most of the drama is located within the family and within the community, only highlighted and elevated by the presence of this daemon-like figure, who at the end proves all-too human. The real daemon is that aspect of humanity that can allow such usurpation, and it appears Dunsmore's downfall is a result of the members of the community finding themselves in the same building facing that man, as only then do individuals find the courage to fight back.

The ending comes across as a little too convenient, and reveals an odd flaw in Dunsmore's otherwise perceptive understanding of human nature. Yet the novel is not about the ending, and it does not detract from the challenges Samson has set for her characters. These characters are well delineated, strong despite the predicaments in which they find themselves, and it is this strength and drive for survival that renders the situation so bleak, since they are unable to oppose the auctioneer. In particular it is the women in the novel who are both driven enough to fight back, while being rational enough to hold back, as they must defend the family unit. The men are driven more by vengeance, or frozen by the apathy of frustration and hopelessness.

Though the novel enacts a specific period with well-defined characters, it can nonetheless act as allegory. The auctioneer himself is the state rendering its citizens dependent on its continued presence, replacing a mild form of government with a kind of modern, capitalist totalitarianism. The pretense of communal ownership is false, and glaringly fails as its members are robbed of what is essentially theirs.

Also prevalent is the threat of urban sprawl, as large cities, in this case Boston, are overgrowing and becoming stifling to humans who long to connect with the peace of a past, uncomplicated life. Or at least what is envisioned by the urban mass to be an idyllic return to nature, ignoring the hardships that Harlowe's inhabitants have been struggling with for generations. The idea of urban sprawl threatening these communities and this way of life is splattered throughout the novel, as we learn more of Dunsmore's ultimate plan, not just for Harlowe but for the surrounding communities as well.

However one would wish to interpret the novel, it is a powerful work that is deserving of a read, and a later re-read. The weight of these ideas packed into a suspenseful novel adds to the tragedy that Joan Samson was not given the opportunity for a follow-up. Regardless, we should be grateful she has left us with such a profound work.


For more of this week's Friday's Forgotten Books, please visit Todd Mason's blog.


Friday, December 7, 2018

Robert Silverberg, The Reality Trip and Other Implausibilities

Silverberg, Robert. The Reality Trip and Other Implausibilities. New York: Ballantine Books, March 1972.


The Reality Trip at ISFdb
The Reality Trip at Goodreads

Overall Rating:     7/10

Between 1969 and about 1985, the world was subjected to the publication of a Robert Silverberg short story collection on an annual basis. Some of those years even experienced multiple collections. A prolific and fairly consistent writer, the material was plentiful, so that most stories did not need to wait long before being included in a collection; in fact, many were collected the same year they initially saw print, such as "Caliban" in this volume.

The Reality Trip and Other Implausibilities was made up primarily of a small number of new, as-yet uncollected stories, with five of the eight first appearing between 1970 and 1972. The remaining three stories include two recycled pieces from the fifties, though "The Shrines of Earth" had not yet been reprinted, and the first-time collected Hugo and Nebula nominated novella, "Hawksbill Station" (1967), which had already re-appeared as a novel, an expansion of the novella, in 1968.



In Entropy's Jaws     8/10
First published in Infinity Two, edited by Robert Hoskins, 1971

Skein is a Communicator, a skilled telepath who can unite two minds with the purpose of effective communication. During a lucrative communication session, however, the connection damages his brain, and he no longer lives in a linear state, but experiences continuous flashbacks and flashforwards. Now Skein is searching for a purple planet that he has seen in his future which he believes can heal his damaged brain.

A riveting story, well structured and with a vividly created world for such a short piece. Skein is not very likable, a talented telepath who capitalizes commercially on his talent, yet Silverberg manages to reign in sympathy for this man, who undergoes a great transformation throughout his humbling experience. My favourite story in the collection.

Included in Terry Carr's The Best Science Fiction of the Year (1972).


The Reality Trip     7/10
First published in If, May/June 1970

After eleven years in New York City, studying humans and transmitting copious data daily to Homeworld, an alien visitor must fend off the attentions and advances of a neighbor, Elizabeth Cooke. Cooke is a bohemian, a pot-smoking poet who is attracted to the alien's otherness, his loneliness and social distancing. A highly entertaining story, the first person narrative focuses both on the alien's struggle to deal with the attentions of Cooke, alongside his intense loneliness. Despite the seeming contradiction, there is never in the protagonist's mind the notion that such a relationship with such a human, or any human, can make up for his extreme isolation, and in addition, despite that loneliness, he is not interested in relocating until the situation with Cooke escalates.

Though considered to be among his best short stories, "The Reality Trip" was not included in any of the "Best of" anthologies for 1970. Terry Carr only began his run as sole editor of a "Best of" series the following year (he was previously co-editor with Donald A. Wolheim), and did include "The Reality Trip" in the relatively forgettable paperback anthology, This Side of Infinity (Ace Books, September 1972).


Black Is Beautiful     6/10
First published in The Year 2000. Edited by Harry Harrison. New York: Doubleday, February 1970

In the year 2000, Manhattan has been taken over by African Americans, as whites have moved out to the suburbs. The story follows an angry senior high school student, James Lincoln, who prefers to go by James Shabaz, as he festers with anger over the centuries of oppression blacks were forced to face in the hands of the ruling whites, and the seeming apathy of those in his community. The story envisions a future racial peace in the US as a result of total segregation, with different minority groups taking over different areas across the country. Like most racial stories of the period, this one is  certainly dated, though it is surprisingly not a bad read. It is, however, interesting that with all this seeming social progress, black men still speak as though they lived in 1970, when you think language would evolve differently with a reduction in the influence of white culture.


Ozymandias     7/10
First published in Infinity Science Fiction, November 1958
Published in the UK in New Worlds Science Fiction #94, May 1960

Exploring the rim of the galaxy is a vessel run jointly by the military and a small group of archaeologists. These two opposing groups struggle to compromise amid differing agendas, and the tension is thick, brought to a head when they reach a planet which the archaeologists wish to explore, whereas the military believes has no value.

The story begins in the third person, though this voice is eventually revealed to be one of the five archaeologists, which is an interesting shift not often used. Since the story is primarily about two distinct social groups, each appropriately stereotyped, the lack of individual characterization makes for a good third person tale. Though names of some of the minor players are given, we are essentially dealing with two distinct groups rather than individual characters, a detail highlighted by the fact that each group's only standout character is their leader. Though the military is responsible for the larger portion of the mission's budget, the archaeologists do have some contractual weight, and essentially force the ship down onto the dead planet for a week's worth of investigation. They quickly make an incredible discovery, and do their best to conceal it from the other party, which is not interested in extraterrestrial culture, but in practical materials, either resources or weapons technology.

By far the strongest of the earlier stories, it is elevated by its original and well structured narrative form, and pays off with a tragic ending.


Caliban     6/10
First published in Infinity Three. Edited by Robert Hoskins. Lancre Books, 1972

A man awakens in a future where physical beauty is the norm, and people can exchange their body parts and take on any appearance they wish. A world where everyone looks exactly alike. A blatant, humourous take on extreme conformity, basic body image issues and the need to fit into one's social circle. In this world, however, the other, that ugly time traveller, is accepted rather than ostracized, and while this future society attempts to mold him into one of their theirs, his difference is instead leaving an influence on the beautiful people. Certainly not original, but entertaining, particularly in light of the protagonist/narrator's self deprecation, and that breathing underwater scene. The title refers, of course, to the half-breed Caliban of William Shakespeare's The Tempest.

Included in Terry Carr's The Best Science Fiction #2 (NY: Ballantine Books, July 1973).


The Shrines of Earth     5/10
First published in Astounding Science Fiction, November 1957
Astounding Science Fiction (UK), March 1958

Following three thousand years of peace, terrans on Earth have become passive and non-confrontational, focusing primarily on the arts. Among the colonies scattered throughout the galaxy, terrans have earned the reputation of being innocent and inconsequential. Yet when the terrans learn that a group of aliens plan a takeover of Earth as part of their conquest of the galaxy, they must find a way to defend themselves. Since they are unable to use weapons, they must rely on craft. A slight story, whose initial premise immediately reveals what is to come. The bulk of the story features somewhat repetitive scenarios that lead us to the obvious conclusion, during which one of the terrans expositorily explains the already obvious crafty plan to the reader. The weakest story of the collection, and not previously reprinted.


Ringing the Changes     5/10
First published in Alchemy and Academe. Edited by Anne McCaffrey. New York: Doubleday, November 1970

Humans take vacations via shunting: the act of entering another person's consciousness and thereby experiencing that person's life. When a malfunction occurs, a group of consciousnesses are separated from their bodies, and technicians must link them back together, by requiring that each person enter each separated body in turn, and for the person to raise their hand once they are re-connected with their body. However, there exists the risk that a person might deceive in order to permanently take on the identity of another.

Told through a series of experiences through a single consciousness, the story appears to be more invested in relaying diverse life experiences than in dealing with its themes of risk in this kind of technology. The focus also indicates that there is perhaps only so much to discuss with this idea. The weakest of the newer stories.


Hawksbill Station     7/10
First published in Galaxy Magazine, August 1967

In the politically rife and repressive future, those with strong opposing political views, rebels, dissidents and even philosophers, are sent to Hawksbill Station, a prison set up in the distant past. The trip to prison is a one-way affair, and lies in the Precambrian era, on a bit of land that would eventually lie underwater.

We experience this extreme penal colony through the eyes of its leader, a role earned through seniority. Vivid and detailed, with many characters and a suspenseful plot, this is an excellent novella that is tightly woven into its premise. It is odd, however, that the suspicious newcomer does not develop a better back-story when navigating through Hawksbill Station, or that he takes notes rather than leave details to memory, but these are small qualms as the story is overall fascinating and well developed.

The novella was expanded into a novel, and released by Doubleday a year after its original publication. In the UK the novel was published with the title The Anvil of Time. I will likely hunt this down at some point.

Included in:
World's Best Science Fiction: 1968. Edited by Terry Carr and Donald A. Wolheim. NY: Ballantine Books, 1969.
Best SF: 1967 (The Year's Best Science Fiction No. 1, UK). Edited by Brian Aldiss and Harry Harrison. Berkley Medallion, March 1968.



For more of this week's Friday's Forgotten Books, please visit Todd Mason's blog.


Thursday, September 20, 2018

Fritz Leiber, Conjure Wife

Leiber, Fritz. "Conjure Wife." Unknown Worlds, April 1943
______. Conjure Wife. Witches Three. Twayne Publishers, August 1952
______. Conjure Wife. New York: Ace, November 1977 (my edition, pictured)

Conjure Wife at ISFdb
Conjure Wife at Goodreads

Rating:     8/10


Fritz Leiber's tale of witchcraft run rampant in modern society was first published in a shorter form, in the April 1943 issue of Unknown Worlds, edited at the time by John W. Campbell, and with illustrations by Frank Kramer. Conjure Wife saw print in its entirety in 1952, as the lead-in story for the triad Witches Three, alongside stories by James Blish (There Shall Be No Darkness) and Fletcher Pratt (The Blue Star). It appeared as a stand-alone novel the following year, published by Twayne Publishers in New York.

In brief, the novel involves a small-town college professor who discovers that his wife is a practicing witch. A man of unshakable reason, he forces his devoted spouse to do away with all her charms and anything associated with witchcraft. Ever obedient, her purge has results that are entirely unexpected for our professor. Witchcraft and the competitive nature of academia are hand-in-hand in this well-regarded novel, Leiber's first.

Among the most interesting aspects of the novel is that, though the author is bound tightly to his narrator, both being intellectual and logical (Leiber was a competitive chess player, for one), it is the superstitious world that supersedes the rational. As much as we wish to believe the world functions the way that science would have us believe, it is the spells and charms that control our destiny and station in life.

Though the plot focuses primarily on how the supernatural drives our lives, the world Leiber has created is one of balance; the supernatural exists to balance out the rational. Without the rational there would be nothing deemed supernatural, as the latter would be the norm. In addition, the world is balanced by other factors touched upon in the novel, from big city glamour and debauchery to the conservatism of a small college community, to gender roles. Indeed, gender roles is among the most important elements of the novel, as men and women have clearly defined roles and are viewed apart by both society and individuals. Told through the point of view of a male rationalist, women are seen as the subjective and domestic counterparts of working men. It can therefore be read that what upsets the rational, male world order, is not the existence of the supernatural, but the reality that women are the driving forces of society. Our protagonist must, alongside with accepting that witches and their powers are real, accept that women make men's careers and are the driving forces behind the success of individuals and family.

There is a certain element of sexism in the novel, but this is a bi-product of the period, and not the result of misogyny. Leiber was specific with his plotting and writing, and despite a male narrator stating that women are largely irrational, this is an element of plot and character and not a comment by the author, as by the end of the book the reader understands that it is the woman who succeeds in overcoming all the challenges faced by the male narrator, both his academic and supernatural challenges. By the end of the novel, the husband plays the role that the wife has single-handedly devised in order to defeat the evil influences in their lives. During the climactic sequence it is she who is at the forefront of the action, battling the other wives, whereas he is standing well behind her, like a bodyguard watching attentively. The juxtaposition of the novel's opening chapters against this scene is worthy of a close look, as it is clear the husband has consciously given up the role of master of the house which he so firmly and rationally acted on when forcing his wife to do away with her superstitions.

Rather than being sexist, the novel is quite progressive.



For more of this week's Friday's Forgotten Books, please visit Patty Abbott's blog.

As of 24 December 2015