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Title:
SFRA review
Alternate Title:
Science Fiction Research Association review
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Serial
Language:
English
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Science Fiction Research Association
Publisher:
Science Fiction Research Association
Place of Publication:
Eugene, Ore
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Subjects / Keywords:
Science fiction -- History and criticism -- Periodicals   ( lcsh )
Fantasy fiction -- History and criticism -- Periodicals   ( lcsh )
Science fiction -- Book reviews -- Periodicals   ( lcsh )
Fantasy fiction -- Book reviews -- Periodicals   ( lcsh )
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non-fiction   ( marcgt )
serial   ( sobekcm )

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University of South Florida Library
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University of South Florida
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All applicable rights reserved by the source institution and holding location.
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usfldc doi - S67-00010-n245-2000-03_04
usfldc handle - s67.10
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SFS0024513:00010


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IIgnh/AprlJ, Coeditors: Haren Hellekson Cralia Jacobsen Honlidion ierielYs [tI!ior: Neil Barron fidion ifY/elYS [tI!ior: Cralia Jacobsen The SFRAReview (ISSN 1068-395X) is published six times a year by the Science Fiction ResearchAssociation (SFRA) and distributed to SFRA mem bers.lndividual issues are not for sale. For information about the SFRA and its benefits, see the description at the back of this issue. For a membership application, contact SFRA Treasurer Michael M. Levy or get one from the SFRA website: . SUBMISSIONS The SFRAReview editors encourage submissions, including essays, review essays that cover several related texts, and interviews. Please send submis sions or queries to both coeditors. If you would like to review nonfiction or fiction, please contact the respec tive editor. The general editorial address for the SFRAReview is: . Karen Hellekson, Coeditor 742 N. 5th Street Lawrence,KS 66044 Craig Jacobsen, Coeditor & Fiction Reviews Editor 208 East Baseline Rd. #3 I I Tempe,AZ 85283 Neil Barron, Nonfiction Reviews Editor I 149 Lime Place Vista, CA 92083-7428 Visit Us At: www.sfra.org

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CURRENT WORK IN PROGRESS New member David Barnes can be reached at 13 Wingrove Hill, River, Dover, Kent, T 17 ONN, United Kingdom. E. Susan Baugh is working on a presentation and paper to be entitled "Kentucky Writers of Science Fiction, Fantasy, and Horror." Niels Dalgaard writes from Denmark that he's doing a history and bibliography of SF in Danish 1741-2000. New member Susan Jaye Dauer is working on essays an theodicy in SF and on children in SF, particularly children as aliens, and children and aliens. Ritch Calvin reports that she's been named an associate editor at Femspec. Susan George is working on an essay on Wor( in Deep Space Nine and preparing to begin her University of California-Davis dissertation on U.S. SF films of the 1950s. Joan Gordon has a new e-mail address: . Charles Gribble's new address is P.O. Box 14388. Columbus, OH 43214-0388. Ed Higgins reports that he's working on "Quaker Utopianism and the Other" in Door into Ocean and The Dazzle of Day. Edward James reports that he is working on a study of modern utopian fiction with Farah Mend/esohn and is still editor of Foundation. Despina Kakoudaki reports that she is frnishing up her University of California-Berkeley dissertation on the visual representation of artifiCial people in the nineteenth and twentieth centuries SFRA BUSINESS Camyn WendeR Executive Board Conference Call, Sunday, February 27, 2000. The meeting started at 1:00 P.M. EST. On the line: Elms, Adam Frisch,J oan GordOn, Craig Jacobsen, Karen Hellekson, Mike Levy, Peter Sands. N0111NA TrONS FOR THE NEXTEIECTrON Karen Hellekson asked for each of the officers to submit a description of the duties of that office for publication in the SFRAR: by March 15, please, so they can be in the April-May issue. A Nominating and Election Committee be formed by Joan Gordon,. who promise? a slate bXlate Marc.h. Both membe;rs and the slate will be published ill the Rev1ew. Candidates will be asked to subIDlt statements for inclusion in the SFRAR and the slate will be on the SFRA Wel;>site as .. The Review will carry a for to volunteer ill AprillSSUe. The ballot will appear ill the J une lSSUe, and votmg deadline; will be Aur;tJ;St 1. Ballots will be tne traditional" pa(?er, to be mailed, to protect pnvacy (as e-mail and Website methods would not). This voting date is earlier than usual, but we need to a ill place by the time Mike Levy leaves for a fall semester of teaching ill Scotland. TREASURER'S REPORT We are in the black-so much so that an IRS form needs to be flied (our income was over $25,000 last year-nonprofit groups making ?lore than need to it caI?e fro.m). AlSo, we h.ave no m;Jor expenditures or ManClal calarruues, making this the first ye:U-ill Levy s term as treasurer for a straightforward, simple report, making Mike a happy man: Missing from the report 15 the b?dget for 2000, which will be discussed and settled by tne Board V1a e-mail. It1s expected that the 2000 budget will be similar to the 1999 one. The Review is iI; on budget (an note: $?,590 vs. $13,000 in 1996-97); our membership 15 at 233 (typ1Ca! this ume of the budget year when membership are still <1J!lVlllg). One error made in membership renewals, Web informauon, and a new flyer for PR needs to be corrected: a $1.00 surcharge was to be adde;d to both the New York Review o/SF and Foundation (to support our costs of offenng these periodicals to members). THE REVIEW The January-February issue will be mailed the first week of Mar:ch. A suggestion was made and adopted, to send a copy of the Rev1ew to members who have not renewed this year or last, with a note to the effect thatl If you wonder why you're receiving this, think about renewing your membership, so you'll get more issues! Karen Hellekson has received a mailing from Amy Sisson of the "left-. overs" from her editorship (extra of issues.she edited and other matena!s related to the Review); no one has rece1ved anything from Geoffrey Sperl desp1te numerous requests for back materials. The devastating news is that both Karen Hellekson and acobsen will be fillishing their third years as editors in December 2000 (Cralg has taken Geoffrey's place for the last two so their term is .up they will be leaving. Th1s caused great consternatlon and of reason:> and possible offers to convince them to stay. The Revzew 1S ill great but 1t takes a good deal of work to keep it that way: between Karen and Cralg, we can probably estimate about 30 or a at $20.00 an hour (a reasonable billing rate for technical wnters and editors days). Over a year! SFRA is getting a minimum of $6,000 of work for free. Ne1ther Karen or Craig regrets the lack of pay-it is the of that is (and neither has the support of a uruverslty for student aldes, COpyillg and

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. We asked them to stay on for another year because of the likelihood that three of the four officers next year will be new to the jobs. And we offered to pay them some small sum or remuneration so that at least they could claim tlieir expenses for income tax. Both promised to discuss this and get back to the Board. :Sut, meanwhile, members-we will be looking for replacement editors, if not this year, then certainly next, so start thinking about possibilities. THE SFRA WEBSITE The Website is looking good and developing well. We want a still-better set-up forteachers and researchers. To facilitate that, we'll ask Joe Sanders to set up a session at Cleveland. Adam Frisch is willing to chair it-the purpose is to get a list of what the membership wants on the slte, including links. PurrING ABOOK ON THE WEB Rich Erlich has asked Peter Sands to put his completed but unpublished (thanks to Borgo Press's demise) manuscript on our Webpage. The book is 21 chapters, two disks. Do we want to do this and establish a precedent? VIe need a poliC):' that wilJ establish guidelines: for how long? How many others, if other unpublished wnters ask? Would works need an editorial approval? By whom? The Board? The SFRA Executive Board? We finally decided, after much discussion, to agree to putting up Rich Erlich's book as an experiment to see how it is accepted, used (peter agreed to set up a counter, even though he has some doubts as to what exactly is being counted). This topic also needs to be brought up to the membership in Cleveland. PRESS COMMITTEE The committee decided not to establish an SFRA Press, for reasons Craig will summarize in the SFRAREVIEW. THE VOLUME OF PILGRIM SPEECHES Hal Hall says the volume will be out in time for the SFRA Conference in Cleveland. Will it be current (t.e., up to what year's speeches will it include)? THE GRADUATE STUDENT PAPER Thanks to a communication misrouting (this was the flrst time the award had been given, so, there being no precedent for who was to notify whom, everyone thought someone else was doing it, and no one did), announcements of the 1999 winners not only did not appear in the SFRAREVIEW, the winners were not informed until just recently. The winner was Shelley Rodriguez Blanchard. This information will be in the SFRAREVIEw, with an apology to entrants, winners, and members. Further, the wording of the terms of the award was clarified as follows: Ordinarily, one prize. will be awarded; however the nU11?-ber and ranking of prizes awarded year will4epend on the number and quality of papers submitted. Awards for Ues are posslble . First-place award :vill be $100 and in SFRA for the calendar year lffiffiediately followmg the conference at which the paper was submitted (i.e. the 2000 awardee will receive membership for 2000-2001). . In the case of second-or winners, the prize will be member ship m SFRA for the year followmg the conference at which the paper was suomitted. The Committee's membership: Liz Cummins and Susan Stratton will be asked to continue as judges for anotlier year to iron out the kinks. Shelley Blanchard, as 1999's winner, will be the third judge for the 2000 Award. The meeting adjourned at 2:58 P.M., EST. Dominique Martel reports that she's webifying the catalog o( Quarante-Deux's SF library. Richard McKinney writes (rom Sweden that he is doing his doctoral dissertation in human ecology. Its working title: Exploring the Consequences of RedeSigning and Redefining Nature in Fact and Fiction. He's also working on a study o( axiological (ethical and aesthetiC) aspects o( SF. Farah Mendlesohn reports that she's doing a study on the ideology o( early magaZine SF in the United States; and she is also working on modern utopian fiction with (oddly enough) Edward James. She continues as (eatures editor o( Foundation. Robert O'Connor is working on editions o( Tales of Terror and M. G. Lewis's Tales of Wonder. Batya Weinbaum is editing Femspec, a journal o( (eminist SF criticism. She's also editing a collection of the stories of Leslie F. Stone, which wiJ/ also contain her articles about the author. PROJECTS SFRA SHOULD UNDERTAKE Amy Clarke would like to see an updated version of the old SFRA anthology with stories by Fowler, Gibson, Robinson, Goonan, et al. Solomon DaVidoff suggests that the SFRA increase support for graduate students Susan George suggests that "it would be nice if the Association could notify members regarding jobs or programs that encourage research in SF." John J. Pierce writes that "one neat idea, although the SFRA could only midwife it, would be a (acsimile translation of Albert Robida's Le Vlngtieme Siecle."

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CALL FOR PAPERS What: Visions of the Self in Science Fiction, Cyberpunk, and Cyberculture. When: Friday, April 28, 2000Monday May I, 2000. Where: Elmhurst College, Chicago, Illinois. Information: Papers and workshops are invited on issues related to any of the following themes: forms of technological embodiment; science fiction and cyberpunk as a medium for exploring the nature of persons' bodies, gender, and reproduction; nature, enhancing nature, and artificial intelligence; the other, the stranger, and the alien; utopias and dystopias; the significance of science fiction as a cultural phenomenon. Topics: Papers will be considered on any related theme and on any specific book, film, or television series. Papers selected for the conference will be published in themed volumes. Send: Send 300-word abstracts should be submitted by March I, 2000. Full draft papers should be submitted by March 27,2000. Contact: Dr. Rob Fisher, Westminster College, School of Humanities, Oxford; e-mail . IN MEMORIAM A. E. Van Vogt died in Los Angeles at age 87. He suffered from Alzheimer's disease. CALL FOR SFRA BOARD MEMBERS It's time to put together a slate for the election of the SFRA executive board. If you would like to serve or know someone else whom you might wish to nominate, please contact one of the three members of the nominating and election committee: Joan Gordon, Joe Sanders, or Dave Mead. Our addresses are in the directory, but we are always reachable bye-mail: Joan Gordon (new address) ; Joe Sanders , SFRA BUSINESS IlElwRr Michael leY( The following treasurer's report is essentially identical to that published in SFRAREVIEW 244 but with the estunated 2000 budget filled in. Expenditures Projected 00 99 Budget Projected 99 98 Budget Projected 98 E ... tr.lpolation 4fXXJ.00 3945.00 4400.00 3476.00 4500.00 SFShidies 4400.00 4339.50 4400.00 4166.50 4500.00 Follfldatiofl, 11. 1 2500.00 2388.00 2500.00 4284.00 2400.00 f\T'[Rniwof SF 2300.00 2020.00 2300.00 2229.00 1750.00 SFR4 Rmew n.2 8500.00 8475.98 8500.00 3474.44 8500.00 Awards n.3,nA 1100.00 1412.91 1100.00 221.98 1000.00 Directory 1400.00 1346.52 1000.00 920.68 1600.00 Conferences 500.00 847.60 500.00 1639.58 750.00 Office E ... -penses 300.00 270.81 300.00 391.18 300.00 ExecBoard Mrng 300.00 255.76 500.00 418.13 250.00 Recruiting n.5 100.00 70.00 100.00 70.00 200.00 Publications 2000.00 0.00 0.00 0.00 0.00 Refund n. 6 160.00 50.00 0.00 0.00 0.00 Coeditor's SIry n.7 200.00 0.00 0.00 0.00 0.00 Total Expendirures27,760.00 25,422.08 25,600.00 21,221.49 25,750.00 n.1 Foundation's 98 cost reflects both 97 and 98 charges n. 2 The SFRA Review's cost was low in 98 because we were forced to skip or double up issues due to problems with the former editor. n. 3 The 99 Awards ran over budget because our Pilgrim, Brian Stableford, had to be flown from England n. 4 The 98 Awards ran under budget because our Pilgrim, L. Sprague de Camp, was unable to attend n. 5 This $70 charge represents the cost of registering our www. sfra.org website address n.6 Award to Student paper winner n.7 Token salary to SFRA Review coeditors Income Projected 00 99 Budget Memberships 11. 8 24,000.00 23,791.23 Interest 600.00 678.13 Royalties n.9 500.00 1893.58 Other Income n.l 0 500.00 1828.69 Total Income 25,600.00 28,191.63 Projected 99 98 Budget 26,000.00 26,378.00 500.00 464.19 100.00 541.76 100.00 287.00 26,600.00 27.670.95 Projected 98 26,500.00 200.00 1500.00 300.00 28,550.00 n.8 Member income was down in 99 due to a small drop in tot. member ship, a higher % of student members, and fewer people ordering Foundation than expected n. 9 Royalties were higher than expected due to a surprise check for the original SFRA anthology and a settlement with Borgo Press for Imaginative Futures n. 10 Other income included a few membership list sales and a surprisingly large profit from the Mobile conf. n. 11 The Executive Committee extended support to worthy scholars in Poland, Germany, Russia, China, and Oregon n. 12 After a number of years, progress is apparently being made on the book of Pilgrim Award speeches for which this money was intended. There is, some controversy over the amount of money listed as disbursed in preVIOUS years. Received 99 Disbursed 99 Balance Royalties 1893.58 807.60 1085.98 SchlrSpprt Fnd!L 11 435.00 400.00 35.00

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Originally Received Encumbered Income 3613.64 (Pilgrim Award Gtant) n. 12 Disbursed in Previous Years 998.45 Cash Balance as of 1/01/00 (Includes 2000 renewals) 30,643.65 Balance 2615.19 Membership Count 1999-301 199B---305 1997-310 1996--306 1995--312 EDITORIAL SrE'PPlN#; Karen Hellekson and Craig Jacobsen After putting out what seems like countless issues of the SFRAREVIEW (but in fact, we have only put out about fourteen to date), we have decided to hang up our hats and let someone else have a go at the helm ofthe SFRA's sixtimes-a-year publication. Let this editorial serve as a call for volunteers to pick up where we left off! The December 2000 SFRAREVIEW shall be our last. The SFRAREVIEW has changed since our tenure: we moved from Amy Sisson's legacy of publishing a small, fairly expensive, digest-sized, bound book to publishing a small, slightly cheaper, 8th x 11 stapled format-and that format grew thicker and longer with each passing issue, thanks to the diligent work of the book review editors, Neil Barron and Craig Jacobsen, and thanks to the responses to submissions for the Approaching series. In addition to the turnover at the SFRAREVIEW's helm will be turnover in leadership of the SFRA, as many of the officers whose backing was so instru mental in reworking the SFRAREVIEW will not be running again for office. Despite the lack of institutional memory that this will engender, it's the perfect time for a new crew to set new goals and use the SFRAREVIEW and the SFRA's Website to meet those goals. We cannot conceal the sad fact that putting together this publication is time-consurning; and we are at the mercy of people who subffilt, of whom there are never enough. We wholeheartedly recommend that interested parties seek assistance from a university, if future editors are affiliated with one; and we further recommend that more than one person tackle the editing. Currently, Karen Hellekson gathers the material from the review editors others where nece;;sary), has text keyboarded if it is not already on disk, copyedits It, and assembles It. (She also prepares fties for the online archives.) She e-mails it to Craig] acobsen, who lays it out and has it printed and bound. He sticks labels on and arranges for the mailing. And Craig maintains some SFRAREVIEW archives on our separate site, which we will likely merge with the SFRA's site over the next few months in anticipation of the transition. Through the magic of e-mail, zipped files, and vanous Microsoft products, it all comes together. While it is a fair amount of work, it is also a great opportunity to make contact with fellow SFRA members. Editors serve a three-year term and are appointed by the Board. The editors are included in Board activities but cannot vote. Please don't hesitate to contact Karen or Craig if you are interested in taking over the editorship. If you're interested but want a coeditor, we're willir?-g to match people up oased on lllterests. We will be happy to provide electronic files, layout boards, and free advice. It's a challenging and rewarding job, but it is a time commitment! SFRA BUSINESS: ELECTION 2000 IIGARD GENERAL INFORMATION The SFRA Board is up for re-election. Candidates must volunteer themselves (or be volunteered) soon! The ballot will appear in the] une and Dave Mead . CALL FOR SUBMISSIONS TO SFRAREVIEW'S LITERARY THEORY SERIES The SFRAREvlEw wants to run a series of essays written by its members on contemporary literary theories and their relevance to science fiction. The editors of the series, Joan Gordon and Shelley Rodrigo Blanchard, envision brief (1,500-2,000 word) essays that would provide overviews of the particular theoretical stances, cite major critical works, discuss relevance to science fiction, and offer pedagogical suggestions. We would imagine essays on a range of subjects from reader-response to ecofeminism to queer theory and beyond. Please contact either of us bye-mail with your brief proposal: Joan Gordon (new address) and Shelley Rodrigo Blanchard . SFRAPRESS COMMITTEE In the wake of the closing of Borgo Press last year, the SFRA Press Committee was formed to explore the possibility of the organization beginning to publish book-length manuscripts related to science fiction. The committee determined that SFRA's membership base and budget limitations would restrict any publishing effort to a scale too small to greatly affect the field. We also determined that such a venture would require a serious time commitment, and given the difficulty the organization has had finding people able to make such a commitment to our existing outlets (the Review and webSite), it seemed unwise to further stress limited resources. Neil Barron's survey of publishing outlets (thiS issue) demonstrates that the loss of Borgo, while significant, is not a crippling blow to the field. Thus, our recommendation is that the SFRA

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hold off on any such plans until or unless a significant source of financial and human support (such as a sponsoring university) appears. -Craig jacobsen (Chair), Charles Gribble, Karen Hellekson,jan Bogstad, Philip Kaveny, and Solomon Davidoff. AWARD WINNERS ANNOUNCED Suzy McKee Chamas has won this year's James Tiptree,jr., Award for her novel The Conqueror's Son. jonathan Lethem has won this year's National Book Critics Circle Award for his novel Motherless Brooklyn. CALL FOR APPROACHING SNOW CRASH Next issue's featured Approaching title is Snow Crash. We welcome all submissions! May/June: Snow Crash, by Neil Stephenson July/August: The Children Star, by Joan Slonczewski September/October: Feersum Endjinn, by lain M. Banks November/December: Parable of the Sower, by Octavia Butler Please send your contributions (short study guides, links to URLs, essay questions for student papers, sOO-word essays on your approach, ten questions for class discussion, or anything you like) by the 15th of the first cover month (that is, copy for January/February was due January 15). The SFRAREvlEw editors will remind the membership with a call for submissions on the SFRA listserv a few weeks before the due date. We will no longer print extremely lengthy line-by-line analyses of the text. We will publish these on the SFRA's Website instead, or we will link to your site issue of the SFRAREVIEW, and the voting deadline for receipt of ballots will be August 1. Ballots will be the traClitional paper, to be returned via mail, and will be pruIted in the SFRAREVIEW. Please declare your willingness to stand for office, or please nominate a deserving soul, by contactingJoan Gordon < joangordon@:lellnet.com> ,Joe Sanders < joesanders@aol.com> ,or David Mead < dmead@falcon.tamucc.edu> Their addresses and phone numbers are in the SFRA Directory. If you would like further information about an office, please contact the present officeholder, who will be happy to answer guestions. The deaaline for subrrussions of candidacy is May 15,2000, for inclusion in the May-June 2000SF'RAREvIEw. In addition to the officers' positions, the editorship of the SFRAREVIEW is also open. However, as this is not a voted, official Board position, but rather a position granted by Board members, the description appears in this issue's editorial. PRESIDENT As stipulated in the SFRA bylaws, "The president shall be chief executive of the association; hel she shall preside at all meetings of the membership and the Executive Committee, have general and active management of the business of the association, and see that all orders and resolutions of the Executive Committee are carried out; the president shall have general superintendence and direction of all other officers of the association and shall see that their duties are properly performed .... the president shall be ex officio member of all standing committees and shall have the powers and duties in management usually vested in the office of president of a cOq>oration; the president shall appoint all committees herein unless otherwISe provided." What this mostly means is that the president keeps track of what's happening at various levels of SFRA functioning, encourages people to get the organizauon's work done, and does some of it lierself or himSelf as needed. When the organization is working smoothly, the president participates democraticallyas one member of the Executive Board to discuss and reach decisions on organizational issues or to bring the issues to the membership. When matters are not going so smoothly, the president intervenes where necessary-to ensure that the organization's essential business is taken care of in a timely fashion. VICE PRESIDENT According to article 5, sect. 3, of the SFRA bylaws, the only official duty of the SFRA Vice President is to serve as a substitute for the President in situations where she or he is unable to be present. Unofficially, the SFRA VP is the recruiting officer for SFRA. Working with the other members of the Board, especially the secretary, the treasurer, and the Web director, the VP seeks to identify and contact potential new members whose interests match or comple ment those of the current SFRA membership, to form and maintain alliances with other SF organizations of similar interests, and to find new ways of publicizing SFRA's goals and accomplishments. TREASURER The Treasurer of the SFRA has as his or her primary duty the processing of annual membership renewals and new memberships. This involves, on the one hand, keeping track of a budget in the neighborliood of $25,000 per year and, on the other hand, keeping track of a database of between 350 and 400 people. The duties are described in more detail below: Monies sent to the Treasurer must be recorded in the database and deposited in a bank account set up for this purpose. The database must be constantly updated, including information on each member's address, phone numbers, and e-mail, their interests, their

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journal subscriptions, and a variety of other miscellaneous topics. Using the information received from members, the Treasurer is responsible for sending in member subscriptions to the SFRAREVIEW, Science FictionStudies,Extrapoltttion, Foundation, and theNew YorkReviewofScienceFiction, along with taking care of addresses changes to those journals and passing on complaints about lack of service. The Treasurer is responsible for paying the organization's bills out of the account she or he has set up. The Treasurer is expected to handle duties related to maintaining the organization's nonprofit status and answering questions from the rn..s. Frequently, prospective members will contact the Treasurer for information about the organization. He or she must handle these requests via phone, e-mail, or traditional mail. The Treasurer is expected to deliver a treasurer's report at the SFRA's annual conference at midyear and is also to provide a report to be published in the SFRAREvrEw covering each calendar year. The Treasurer is expected to take part in Board meetings and decisions, whether they are handled by phone, e-mail, or face to face. SECRETARY The secretary has the following annual responsibilities: Take notes at two Executive Board meetings (at the annual conference in June and again in January IFebruary, either a face-to-face meeting or a conference aill) and at one membership meeting (at the annual coriference in June). Put the notes into coherent, typed form, and transmit them to the newsletter editor for printing within two to four weeks of the meeting. Devise and mail out membership renewal forms in October-Novem ber, using labels provided by the treasurer. NotifY Pilgrim Award winners and eligible past presidents In October November that their subscriptions to Foundation and NYRSF need to be renewed. Prepare and mail out membership renewal reminders inJanuaryFebruary. .' Par?cipate in Executive Board meetings and share responsibility in decision-making. Reply to inquiries from members and nonmembers. ParticiEate ill listserv for Board members: e-mail has become a significant part of decision-making. Keep records (minutes, newsletters, significant e-mail). SFRA BUSINESS SFRA IiTRADVArE Shelley Rodrigo Blanchard won the first SFRA Graduate Student Paper Award Her essay, '''Resistance is Futile,' We Are Already Assimilated: Cyborging, Cyborg Societies, CX-borgs and The Matrix," was presented at the 1999 SFRA Conference in Mobile. Her award includes $100 plus free SFRA membership for the calendar year 2000. This new SFRA award was established in 1999 to honor the outstanding student paper presented at each annual conference. SFRA members wanted to be able to ackriowledge graduate students' J?articipation in the national confer ence and to encourage them to become actlve members in SFRA during their academic careers. The committee for the 1999 award consisted of Elizabeth Cummins, Susan Stratton, and Alcena Rogan. They were pleased with the quality of the. submissions for the award in Mobile. They recommend that all SFRA members encourage graduate students to submit the papers they present at the annual SFRA meeting for the contest. RECENT AND FORTHCOMING NONFICTION [*To be reviewed; e-mail or write Neil Barron if you want to review a listed title.] *Young, R. G. The Encyclopedia of Fantastic Film, Ali Baba to Zombies. Applause Books, April 2000. *Fischer, Dennis. Science Fiction Film Directors, 1895-/998. McFarland, February 2000. *Hendershot, Cynthia. Paranoia, the Bomb, and 1950s Science Fiction Films. Bowling Green University Popular Press, 1999. *Hunter, I. Q. British Science Fiction Cinema. Routledge, 1999. *Roberts, Adam. Science Fiction. Routledge,july 2000. *Wolmark,jenny, ed. Cybersexualities: A Reader on Feminist Theory, Cyborgs, and Cyberspace. Edinburgh University Press, 1999. *Sayer, Karen, and john Moore, eds. Science Fiction, Critical Frontiers. St Martin's, May 2000. *Seed, David. American Science Fiction and the Cold War: Literature and Film. Fitzroy Dearborn (U.S.A.)IEdinburgh University Press (U.K.), 1999. Soh6r,Anik6. The Cultural Transfer of Science Fiction and Fantasy in Hungary 1989-/995. Peter Lang, 1999. *Bloom, Harold, ed. Kurt Vonnegut. Chelsea House, january 2000. *Holte,james Craig, ed. The Fantastic Vampire:

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Studies in the Children of the Night. Greenwood, August 2000. Papers from 18th ICFA, 1997. *Oakes, David A. Science and Destabilization in the Modern American Gothic: Lovecraft, Matheson, and King. Greenwood,July 2000. *Westfahl, Gary. Space and Beyond: The Frontier Theme in Science Fiction. Greenwood, February 2000. *Freedman, Carl Howard. Critical Theory and Science Fiction. Wesleyan University Press, March 2000 (distributed by University Press of New England). *Kuhn, Annette. Alien Zone II:The Spaces of Science Fiction Cinema. Verso, February 2000. *Barr, Marlene, ed. Future Females, The Next Generation. Roman and Littlefield, March 2000 [repeatedly delayed; ryer sent to SFRA members spring I 999J. Carrier, David. The Aesthetics of Comics. Penn State University Press, March 2000. Silver, Alain, and James Ursini. Roger Corman: Metaphysics on a Shoestring. Silman-James Press, May 2000. Zipes,Jack, ed. Oxford Companion to Fairy Tales. Oxford, spring 2000. Wagner, Margaret E. Maxfield Parrish and the /IIustrators of the Golden Age. Pomegranate, March 2000. *Cording, Ruth James. c. S. Lewis: A Celebration of His Early Life. Broadman and Holman, April 2000. Ordinarily, one prize will be awarded per.year. However, the number and ranking of prizes awarded each year will depend on the number and quality of papers submitted. Awards ties possible. '. First-place award for the year 2000 will De $100 and membership m SFRA for me calendar year immediately followmg the conference at which the paper was submitted (i.e., the 2000 awardee will receive membershiJ> for the calendar year 2001). If the award committee sees fit to name secona or thirdplace winners, the prize will be membership in SFRA for the calendar year following the conference at which the paper was submitted. The Executive Board offers apologies to the winner, to the other entrants, and to the membership for the lateness of this announcement. The. 1999 entrants did their work in a timely fashion, and so did the awards COIllffilt tee; but, this being the first time the a:vard was given, no clear had. been established as to who was to notify who and when. Next tune, the e-mails will be delivered expeditiously. FEATURE PvBLISllINQ IN LlrElUW'PRE AN. FlLI'I Neil Barron Information for this survey of publishing opportunities in E.nglish was compiled in winter 1999-2000 and was supplied by' the magazines, JOurnals, and book publishers listed. When a potential source didn't reply, this is noted. I included whatever skeletal information I had. If you know of other sources that should have been listed, please write or e-mail) with as many details as you can, and an addendum will be published and distributed. The information shown is limited mostly to that needed by the reader to determine if the magazine or book publisher is suitable. If there's a Website listed, be sure to check it for additional details. Scholars should be familiar with the bibliographies compiled by Hal W. Hall, Science FictionandFantasy Reference Index, 1878-1985 (2 volumes, Gale Research, 1987) and the two supplements covering 1985-1991 and 1992-1995 (Libraries Unlimited, 1993 and 1997). These reveal that the secondary book and periodical literature is very widely scattered, although much of the most unportant literature has been and is published by a relatively small number of book and magazine publishers, some of which specialize in fantastic literature or film. The emphasis m this survey is on these pu1:llishers, which are the most likely to show interest in a proposal. However, scholars should not ignore other possible outlets. Several times yearly, the monthly Locus publishes a list of forthcoming books, both from the United States and Britain. Most are fiction, of course, but some nonfiction is listed. The listing is by publisher, permitting you to quickly pass over publishers like Ace and Daw, which issue no nonfiction. Scan individual books for (n) following the title. This indicates that the publisher issues nonfiction. The list of recent ana forthcoming nonfiction in the 1:limonthly issues of Science Fiction Research Association Review shows publishers not discussed in this survey, as does the list of books received in issues of Science Fiction Studies. For addresses, Websites, phone numbers, and the like, of publishers not listed here, consult (or ask a local library to consult) Literary Market Place (Bowker), published each fall and cover dated the following year. (Those outside North America should consult the companion Internationd Literary Market Place.) Book publishing has changed rapidly in recent years, so only the latest edition should be consulted. The publishers volume of the annually revised Books in Print includes most of the basic information you'll need. For magazines, consult the latest edition of Magazines for Libraries, edited by Bill Katz (9th ed., Bowker, 1997), which descriptively and critically annotates approximately 7,300 magazines for school, public, or academic libraries. Less useful in spite of its worldwide scope and annual revision is Ulrich Internationd Periodicals Directory (5 volumes, Bowker), listing 150,000 serials (periodicals, newsletters, yearbooks, etc.). The descnptive illformation is millimal, unlike that of Katz's text, but the 973 subject groupings may suggest a likely

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venue. There ar; many "write;s' market" books covering various types of children s book:>, greetmg card verse, etc. None are very likely to include anything of valuefor this survey, but Writer's Digest in Cincinnati publishes manysuCh che<;k outtherr at < www.writersdigest.com> Mapes less likely to reply prompdy. Academic journals rarely for contnbutioDf> directly; payment come .mdll:ectly by means of or appomtment. Profit-making magazmes, mclucling those pnntmg mosdy fict1on, pay modest sums, and they often commission pieces rather than accepting freelance contributions. Because book publishers often slow to respond to proposals, if they respond at all, I suggest lOU use thls strategy: Select the number of publishers you think would most likely to be interested. Send each a cover letter and a p'rospectus (such as an annotated table of contents, a draft preface or or an abstra0) <1fd possibly the first chapter. Do not send the complete unfe:s asked, even iflt s complete. In the very unlikely event you get two pOs.ltlve pursue both, and select the best offer. Be sure to include your email lf you have one. I have used po.stal mail fOF my proposals, but e-mail may work equally well, espeClally if you are slffiply sending a preliininary query. Your cover letter should note what is distinctive about your monograph the first book to discuss x, whether there are any competing works, etc. t?e for your book: general readers, scholars, public or academic or speclalty markets, but don't exaggerate its likely appeal. Indicate the approXlffiate length of the book in words, whether any illustrations or plates (especially color wo:k., is expe?Sive) will be included, and approXlffiately many months lt will take to deliver the completed typescript from the Slgrung of a contract. Book pay 1;)Ut they are often very small. Print runs and sales most and books are small (and list prices high), and 15 often madequate: for example, a critical study lS publisli.ed at $39.95 list, wlth a 25% short discount (versus a 45-50% trade diScount), and a 10% royalty rate. Net royalty per copy would therefore be $39.95 x 75% x 10% = about $3. If such a study represented a couple of years' work and sO.ld 800.copies two years, you if your time was well compensated, mcluding that mdirect payment mentioned earlier, plus the fan's egoboo. <;MUle to Scholarly p,ublishing 1996) by Robin Derricourt was out. of PJ?11t m 2000, but remamdered coples of the trade paperback edition were available mJanuary 2roJ from < www.kaboombooks.com>, a useful site for remaindered books. This 264-page handbook provides detailed general gw.dance. Note that some publishers market only to libraries, such as St. James and Salem ?ress, most, if not all, of their publications are by multipfe authors, Wlt? an m-house and outside general editor coordinating the work of many contnbutors, who are paid piece rates for their contributions (this is called "work for hire," and copyright for all such work remains with the publisher' you pay a tax on such work for any publisher that pays you $600 or more m a year). In spite of boilerplate (standardized) book contracts, virtually everything is nego.tiable not in fact. Insist on cOEyright in your name (the publisher will handle this). Contracts typically offer a flat royalty fee. If you think your has sales argue fo:, 10% on .the fi;st 800 copies and 15 Yo on all additional COPles. Your bargammg stance will be lffiproved if you can supply camera-ready copy (i.e., paper text ready to use for the printer) or ele0ronic text from which proofs can be created much more qUlck1y. Revenue from subSldiary nghts lsuch as book clubs or electronic publication) is typically split 50/50; ask for 60/40 or 75/25. I've earned far more from the electron:c rights to the 4th edition of my Anatomy o/Wonderthan from sales of the book ltself. rights are becoming increasingly important as firms such as < www.netLibrary.com > become a sort of fee-based electronic lending library. You'll have some out-of-pocket costs, such as postage telephone calls, materials (such as paper and diskettes), and perhaps travel, so ask for an advance to cover them. Don't be timid; if you don't look out for your own fmancial interests, no one else will. Good luck. Send all corrections and additional information to Neil Barron, 1149 *Chapman, james. License to Thrill: A Cultural History of the James Bond Films. Columbia, March 2000. Washowski, Larry and Andy, ed. by Spencer Lamm. The Matrix: The Shooting Script and the Complete Storyboards. Newmarket Press, March 2000. *Hawkins,joan. Cutting Edge: Art-Horror and the Horrific Avant-Garde. University of Minnesota, May 2000. *Hughes, William. Beyond Dracula: Bram Stoker's Fiction and its Cultural Context. St Martin's, May 2000. *Smith, Andrew. Gothic Radicalism: Literature, Philosophy, and Psychoanalysis. St Martin's, April 2000. *Palmer, Paulina. Lesbian Gothic: Transgressive Fictions. Cassell, 1999. *jones, E. Michael. Monsters from the Id:The Rise of Horror in Fiction and Film. Spence Publishers, April 2000. *Madison, Bob. American Horror Fiction Writers. Enslow Publications, Fall 2000. *Heldreth, Leonard, and Mary Pharr. The Blood Is the Life: Vampires in Literature. Bowling Green University Popular Press, 1999. Bloom, Harold, ed. Mary Shelley's Frankenstein. Chelsea House, 1999. Bloom's ReViews. *Magistrale, Tony. Poe's Children: Connections between Tales of Terror and Detection. Peter Lang, 1999.

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*Airaksinen, Timo. The Philosophy of H. P. Lovecraft: The Route to Horror. Peter Lang, 1999. *Keyes, Daniel. Algernon, Charlie and I. Challenge, February 2000. Contains novelette version of Flowers for Algernon plus autobiographical commentary. *Sobchack, Vivian, ed. MetaMorphing: Visual Transformation and the Culture of Quick-Change. University of Minnesota Press, january 2000. Smith, Gary A. Uneasy Dreams: The Golden Age of British Horror Films, 1956-1916. McFarland, january 2000. Miller,jeffrey S. The Horror Spoofs of Abbott and Costello: A Critical Assessment of the Comedy Team's Monster Films. McFarland, December 1999. Sherman, Fraser A. Cyborgs, Santa Claus and Satan: Science Fiction, Fantasy and Horror Films Made for Television. McFarland, August 2000. Gresh, Lois and Robert Weinberg. The Computers of "Star Trek." Basic Books, February 2000. Cavallaro, Doni. Cyberpunk and Cyberculture: Science Fiction and the Work of William Gibson. Athlone Press, U.K., May 2000. *C/ark, George and Daniel Timmons, eds.}. R. R. Tolkien and His Literary Resonances. Greenwood,june 2000. *Reid, Robin Anne. Ray Bradbury: A Critical Companion. Greenwood, September 2000. Lime Place, Vista, CA 92083-7428, USA; e-mail < meilbarron@hotmailcom>. MAGAZINES The information is presented in this seql!ence: . . 'Specifications: Title, issues per year, pages per lSSUe, SJ.Ze In Inches; Circulation. Audience (academic, fan, popular). . Whether articles are refereed (in all cases freelance SUbrrusSlOns are welcome, but book reviews are normally assigned). 'Acquisition editor's name, address, e-mail address, work phone/fax number. Website,ifany. Whether style guidelines are available. Number of weeks from submission to decision. Preferred form of submission: number of copies, double-spaced paper, and! or 3.5" diskette and! or e-mail. Delivered cost in U.S. dollars (US$) of a recent issl!e. Number of copies of issue and/or offprints of furmshed cOIl:tr1butor 'Copyright in publisher's or contributor's name (In of publisher copyright, permission to reprint without payment 15 roUtinely granted on request). Preferred length in words of desired articles. Types of articles desired (full details were asked for; some proVIded them). ALAN REVIEW [Assembly on Literature for Adolescents, NCTE] Specs: 3/year; 68 x 1.1 Audience: Children s literature speaalists, acadeffilc. Review: Refereed. Contact: Sissi Carroll, editor, FSU, 209 MCH, Tallahassee, FL 32306-4490; < pcarroli@garnet.acns.fsu.edu> ; (850) 644-2997. Style: Style guidelines in each issue. Decision: 4-12 weeks. Submit: 3 copies double-spaced paper + diskette. To contributor: 2 copies. Copyright Publisher (NCfE) copyright. Length: 10-15 pages (2,500-3,750 words). Comments: Emphasis on teaching young adult on individual authors, old or new; on themes; annotated bIbliographies. CHILDREN'S LITERATURE Specs:1/year; ?oo . Audience: Children s literature specialists; acadeffilc. Review: Refereed. Contact: Elizabeth Keyser and Julie Pfeiffer, coeditors? EIl:glish Hollins University, P.O. Box 9677, Roanoke, V A24020, < childlit@holliris.edu>; (540) 362-6695. Website < www.vale.edulyup/books/keyserS99.html>. Style: Style guidelines in each issue. Decision: 12-24 weeks. Submit: 1 copy paper or e-mail atta.chment. To contributor: One copy lSSUe and one copy offprrnt. Copyright: Not stated. Length: 20-30 pages (5,000-7,500 words). . Comments: Annual seeking "scholarly essays that prOVIde fresh exammatlon of central issues in the field of chIldren's literature ... arguments should be positioned with a critical and! or theoretical context." Essays may deal with an Individual work or theme or author. CHILDREN'SUIERATUREINEDUCATION Specs:4/year; 7 x 10". Audience' Children's literature specialists. Contact Margaret Mackey, editor, p.o. Box 45034, Lansdowne Portal Outlet, Edmonton, Alberta, Canada T6H SYl. Comments: [No response.]

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CHIIDRENSUfERATUREASSOCIATIONQUARTERLY Specs:4/year; ca. 52 pp./issue; x 11 inches. Academic literature sp'ecialists; ?fficial journal of the Children s Literature AssOClatlOn and of the Children's Literature Division of the MIA. Contact: New editor as offall2ooo: Roberta Seelinger Trites editor College of Arts and Sciences 4100, illinois State University, Normal, IL 6i790-4 lOO (309) 438-5669; . Website < http://ebbs.english.vt.edu! chla> Style: MIA style guidelines. Decisi.on: Inquire; historically a backlog of unread MSs, but this may change Wlth new editor. Submit: 3 double-spaced paper copies, later a diskette. To contributor: Two copies of issue furnished. C.opyright: copy,right; agreement must be signed by author; permlSSlon to repnnt given rounne1y. Length: 24 (6,OC(J words) normalypper limit, but negotiable. Children s or young adult literature, but past articles have dealt With .tOplCS like theater, film, TV. Few surveys or primarily descriptive pieces. Ar?cles are informed by theory or historical or other research. ,,:,ill be for whom English is a second language .... ChLA 15 an mternatlonal orgaruzatlon, but good research, close reading originality, and effective use of a theoretical lens is what our readers expect." GNEFANTASTIQUE Specs: 12/year; x 11 inches; circulation: 30,000 Audience: Academic to popular. Contact: Frederick S. Clarke, editor, Box 270, Oak Park, IL 60303 (708) 366-5566; . Wfhi!e. Comments: [No L;>ng established, monthly devoted.to all of fantastic cmema. The best sll!-gle on its topic, whose cIrculatlon exceeds the total of all other magazmes m this survey. CLFNEWS Specs: Online as of 1999, updated several times yearly. Audience: Academic to popular. Review: Occasional commissioned pieces, notably reviews; refereed. Contact: Dan Pearlman, 102 BlackStone Boulevard #5, Providence, RI 02906; (401) 453-3027; fax (253) 681-8518; . Website< www.uri.edulartsci/english!clf/>. Style: No guidelines (see below). Decision: 1-4 weeks. Submit: E-mail attachment in MS Word. Copyright Contributor copyright. Length: words (m'lWre. if longer). Comments: Articles to deal With literature of the fantastlc (LF), ranging from to interviews, opinion pieces .. Excellent writing essentlal. m English from abro.ad welcomed, mcluding those about LF published m languages other than English. Most contents of issues 1-5 are online along with more recent material. EXTRAPOLATION Specs: 4/year; 94 pp./issue; 6 x 9 inches; circulation: 1,000. Audieru:e. Acaden1ic. Review: Refereed. Contact D. M. Hassler, English Department, Kent State University, Kent, OH 44242; (330) 672-2676; < extrap@kent.edu>. Decision: 8-10weeks. Submit 2 copies double-spaced paper. Sample $5. To contributor: Two copies of issue; inquire for cost of offprints. Copyright Publisher copyright. Boerst, William J. Time Machine:The Story of H. G. Wells, Mortan Reynolds, 1999. Biography for grades 5-8. *Westfahl, Gary. Science Fiction, Children's Literature, and Popular Culture: Coming of Age in Fantasyland. Greenwood, May 2000. NECRONOMICON PRESS UPDATE Neil Barron writes: Marc Michaud founded the Necronomicon Press some years ago, and it's published a number of excellent short studies, usually as odd-sized stapled booklets, although its most ambitious publication, S. T. Joshi's H. P. Lovecraft: A Life (1996), was a 704-page hardcover book. With its fairly small type, it was easily the longest single work devoted to LovecraftAs the name suggests, the publishing emphasis has always been weird fiction and secondary literature, focusing on Lovecraft and his contemporaries and followers. A number of changes will be made in the publishing program in 2000 because of family matters. Necrofile, the excellent quarterly review about weird and supernatural fiction, will become an e-zine on Necronomicon's Website, . after its last print issue is published by fall. Lovecraft Studies and Studies in Weird Fiction, both edited by Joshi, will become irregular print annuals. Dark Eidolon, devoted to the work of Clark Ashton Smith, has been suspended. Robert Price's Crypt of Cthulhu will cease publication if the editor can't find another publisher. Check the Website for the latest information. HEINLEIN COMPANION ANNOUNCED Neil Barron writes: For a writer consistently voted the most popular SF writer over the years, the secondary literature on Heinlein, although respectable, is

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nothing like that devoted to say, Dick or Le Guin. The 4th edition (1995) of my Anatomy of Wonder annotates only five books, from Panshin's Heinlein in Dimension in 1968 to Leon Stover's Twayne study in 1987. Due in May is Robert A. Heinlein: A Reader's Companion by James Gifford, whose Nitrosyncretic Press will publish the book as a $24 trade paperback and $32 hardcover. Approximately 130 published works are described in detail, along with lesser works: TV, film, book reviews, interviews, letters, speeches, essays, plus a list of unwritten works, such as some of the stories in his Future History series. Information from his archive at the University of CaliforniaSanta Cruz library is included. The de Camps contributed the foreword. The SFRAREvlEW will review the book, but you can preview the book and the Heinlein Website at . IBIS Neil Barron writes:An ibis is a large wading bird, but the IBIS is the Imaginative Book Illustration Society, formed in June 1995 by Geoffrey Beare, a collector, and Robin Greer, a dealer. It currently has about 200 members. It encourages research into, and exchange of information concerning, book and periodical illustrators and their publishers, with the emphasis on English language works published since the I 830s. It organizes exhibitions, lectures, and study days, and arranges visits for members to both public and private collections of illustrated books and magazines and of original artwork. A newsletter is issued three times yearly and an "occasional" journal for more substantial contributions. u.K. members: (individuals), 15 (families), (institutions); U.S. members: $20, $30, $40, respectively. Payment by Visa or Mastercard is preferred for overseas members. Details from IBIS, 434 Fulham Palace Road, London SW6 6HX, u.K. LenJ?Jh: From 5,0CfJ to 10,0CfJ words. Critical and historical essays preferred; interviews and bibliographic occasionally Some issues devoted to single topics (forthcorrung as of December 1999; lSSUes on fantasy theory and cultul:al studies). FANTASYCDMMENTATOR Specs: l/year; 72-80 pp./issue; x 11 inches; circulation: 500. Audience' Academic, fan. Review: Refereed. Contact: A. L. Searles, 48 Highland Circle, Bronxville, NY 10708-5909; (914) 961-6799; fax -6847. Decision: 2-4 weeks. Submit: 1 copy double-spaced paper. Sample' $4. Length: 1,200-8,000 words {query if longer). Comments: Descriptive and! or critical articles on all aspects of SF, fantasy, or supernatural fiction. Emphasis on pre-1950 period. Genre verse, especially sonnets, welcome. Book reviews usually assigned, but query (200-400 words for shorter, up to 2,500 words for essay-reviews). FEMSPEC Specs: 2/year; 100 J?p./issue; 6 x 9 inches; circulation: 200. Audience: AcadeIIl1c, fan, popular. Review: Refereed. Contact Batya Weinbaum, English Department, Cleveland State University, Cleveland, OH 44115; fax (216) 687-6943; < batyawein@ao1.com> or < femspec@popmail.csuohio.edu> Web.siie: < www.ninthwonder.comlfemspec >. Decision: Not stated. Submit: 4 copies double-spaced paper. Sample' $30. To contributor: Copies/offprints: not Copyright: Nonnally J?ublisher copyright; negotIate repnnt! reuse. Length: 3,800 words minimum). Comments: Feminist criucism of speculative works (follow MIA style) and fiction that interrogate gender. Conference coverage. Transcripts of dialogues on relevant topics. Interviews. Art, photography, and work by or about girls. First issue September 1999. FIVE OWlS Specs: 5/year; 30-35 pp./issue; x 11 inches; circulation: 2,0CfJ. Audience' General, with interest in children's literature. Review: Not refereed. Contact Mark West, editor, English Department, University of North Carolina, Charlotte, NC 28223; (704) 547-4229. Wthi!e < www.fiveowls.com>. Style' No style guidelines. Decision: 2-4 weeks. Submit: 1 copy double-spaced paper. Sample' Free. To contributor: Small honorarium paid; 1 year free subscription provided to contributors. Copyright: Publisher copyright normally unless specifically requested otherwise. Comments: Editor solicits many articles, but proposals welcomed. Focus on trends and issues in children's literature, written in a nonacademic, accessible style for general readers. 7-8 page (1,750-2,000 word) articles typical, but featured cover article longer, January-February 20CfJ issue deals willi SF. Book reviews are assigned from Minnesota publishing office. FOUNDA nON: ANINTERNA nONALREVIEW OF SCIENCE FICTION Specs: 3/year; 128 pp./issue; 5J/4 x 8t,4 inches. Audience-AcadeffilC, fan.

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Contact: Edward F. James, editor, History Department, University of Reading, Whiteknights, Reading RG6 6AA, England; < > (general queries). Farah Mendlesohn, Middlesex University, WhiteHartlane,LondonN178HR; (submissions). Comments: [No response.] 7-10 essays averaging 7,000-10,000 words; 10-15 essay-reviews (assigned); occasional other features. GHOSTS & SCHOLARS Specs: 2/year; 60 pp./issue; 6 x 9 inches; circulation: 450. Audience' Acadennc, fan. R?View: Refereed. Contact: Rosemary Pardoe, Flat One, 36 Hamilton Street, Hoole, Chester cm 3JQ, England; (44) 1244 313685; < pardos@global.net.co.uk> Website < www.users.globalnet.co.UklpardoSIGS.html> Style: Guidelines available. Decision: 1-2 weeks. Submit: 1 copy double-spaced paper or attachment to e-mail. Sample: $7. To COntributor: 3 copies. Copyrigfot: Contributor copyright. Length: 1,000-8,000 words. Comments: Articles on ghost stories ofM. R. James and his sources of inspiration, and other authors ill the "James tradition." Scholarly and! or controversial; no superficial or basic. JOURNAL OF POPULAR CULTURE Specs: 4/year; 200 pp./issue; 5 x 7 inches; circulation: 3,500. Audience: Academic. R?View: Refereed. Contact: Ray Browne, Bowling Green State University, Bowling Green, OH 43403; < rbrowne@bgnet.basu.edu> Style: Guidelines avai1'able. Decision: 2-8 weeks. Submit 1 copy double-spaced paper. Sample: No sample price given. To contributor: 1 copy, 50 offprints. Copyright: Publisher copyright. Length: 3,800 words (15 pages). Comments: Analytical and comparative studies of of everyday culture, American or other. Must be readable and say something new about the subject. JOURNAL OF THE FANTASTIC IN TIffi ARTS Specs:4/year; 180 pp./issue, 6 x 9 inches; circulation: 450. Audienre: Academic. R?View: Refereed. Contact: Roger Schlobin, Submissions Editor, 708 Brementon Drive, Greenville, NC 27858-6505; (252) 215-0368; < dragon@atcze.net>. WEh7ie . Decision: 2-4 weeks. Submit: E-mail attachment. To contributor: 2 copies of issue, 6 offprints. Copyright Contributor copyright. Length: 3,000-6,000 words. Comments: Scholarly articles on the fantastic, interpreted very broadly. TIffiUON AND THE UNICORN Specs: 3/year; 6 x 9 inches; circulation: 1,075. Audience' Children's literature specialists. Contact: Louisa Smith, coeditor; Box 53, English Department, Mankato State University, Mankato, N1N 56002-8400; < louisa.smith@mankato.msus.edu> WEh7ie < wwwmuse.jhu.edu>. R?View: Refereed. AN ESSENTIAL COLLECTION Neil Barron writes: The short stories of H. G. Wells have been published in many collections over the past century. In 1927, Ernest Benn published the (requently reprinted The Short (later The Complete Short) Stories of H. G. Wells, with Sixty-three stories, including The Time Machine, a novella, and The New Faust, a (tIm scenario. This was issued in the United States under the (trst title in 1929 and later as The Famous Short Stories of H. G. Wells. In 1984, Wells scholar John Hammond assembled nineteen additional stories, published as The Man with a Nose and Other Uncollected Short Stories of H. G. Wells. He has now edited an accurately titled The Complete Short Stories of H. G. Wells, comprising eighty-four tales, including the contents o( the Benn volume (less The Time Machine and The New Faust), his 1984 collection, and (our additional stories. Originally published as a (about $48) hardcover by J. M. Dent in 1998, it was reprinted in 1999 as an 883-page trade paperback by Phoenix, an imprint of Orion, and this March will be distributed by Trafalgar Square, North Pomfret, VT 05053, (or $24.95, ISBN 0-75380-872-2; call (800) 423-4525 to order by credit card. This edition has a (our-page introduction and a bibliography listing the original (usually magazine) sources. No member has to be told of the seminal nature of Wells's (tction, and i( you do not own a comprehensive collection o( his short stories, this new reprint is an essential investment. CLEVELAND REMINDER If you haven't already done so, go quickly to the SFRA website (www.s(ra.org), download the registration (orm, and sign on for this year's SFRA National Conference in Cleveland.

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Comments: [No response.] NEW YORK REVIEW OF SCIENCE FICTION Specs: 12/yearj pp./issuej x 11 inches. Audience Academic, fan. Contact: David G. Hartwell, coeditor, Dragon Press, Box 78, Pleasantville, NY 10570j < dgh@tor.com> Comments: [No response.] Essays and reviews devoted to SF. PARADOXA Specs: 3/yearj 200 pp./issuej 6 x 9 inchesj circulation: about 2,000. Audience: Acadenuc. Review: Refereed. Contact: David E. Willingham, Paradoxa, Box 2237, Vashon Island, W A 98070j (206) 5674373j fax -5711j < infcxgparadoxacom > Style: Guidelines available. Decision: 6-10 weeks. Submit: 3 double-spaced paper copies initiallYj upon acceptance, submit revised text on paper and diskette (Word or WordPerfect). Sample $24. To cOntributor: 5 copies. CoJ7yr?ght:Contributor. Length: 5,000-8,000 words Comments: Scholarly articles on science fiction, fantasy, horror, mysteries, romance, westerns, the occult, and other popular or marginalized literatures. PEAKE STUDIES Specs: 2/yearj 48-60 2p./issuej 5.5 x 8.25"j circulation: not given. Audience Academic, fan. Review: Articles may be refereed. Contact: G. Peter Wmnington, < l0031.362C@Compuserve.com>. Website < www.unilch!angvdocJpeak-st>. Style Guidelines available. Decision: 2-6 weeks. Submit: 1 paper copy or as diskette or e-mail or attachmentj plain ASCII preferred). Sample Free. TocOntributor:6 copies. Copyright Contributor copyright. Length: 6,000 words maximum. Comments: Articles about works (fiction, illustration! art, etc.) of Mervyn Peake (1911..,.1968)j no fiction or poetry. POESTUDIESiDARKROMANTICISM: HISTORY, TIIEORY,INTERPRETATION Specs: 2/yearj 25-30 pp./issuej x 11 inchesj circulation: 500. Audience: Academic. Review: Refereed. Contact: Alex Hammond, English Department, Washington State University, Pullman, W A 99164-5020j (509) 335-2743j < hammond@wsu.edu>. Website . Style Chicago style manual. Derision: 4-6 months. Submit: 2 double-spaced paper copies. Sample $7.50. To cOntributor: 10 copies. Copyright: Publisher copyright. Length: Not specified. Comments: Original scholarly articles and notes about Edgar Allan Poe's life and writingsj about the cultural and material contexts that conditioned the production and reception of his workj and about his relationsliips with other writers, especially those who work in the traditions of dark romantiClSm. QUARBERMERKUR Specs: Usually 2/yearj 160 pp./issuej 6 x 8.4 inchesj circulation: not stated.

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Audience: Academic, popular. Review: Not refereed. Contact: Franz Rottensteiner, Marchettigasse 9/17, A-I080 Vienna, Austria; < f.rottensteiner@xpoint.at> Wehite < www.e:ffc.de > Style: No guidelines. Decision: "As soon as possible." Submit: 1 double-spaced copy plus attachment to e-mail (MS word preferred). Sample: $9. TocOntrihutor: 1 copy. Copyright Contriliutor copyright. Length: Any 1 ... Comments: Articles about SF, fantasy, weird fiction, utopias, related topics. Articles on SF with theoretical content preferred. English-language submissions accepted, may be translated. SCIENCE FICTION: A REVIEW OF SPECULATIVE LITERATURE Specs: 2/year; 60 pp./issue; 7.25 x 10.25 inches; circulation: 600. Audience' academic, some popular. Review: Refereed. Contact Dr. Van Ikin, English Department, University of Western Australia, Nedlands W A 6907, Australia, . Website: To be established in 2000. Style: Guidelines available. Decision: 4-8 weeks. Submit 1 copy as e-mail attachment (ill Word) or paper (single-spaced OK for overseas contributors). Sample: $10 Cash. To contributor: 2 copies provided. Copyright Contributor copyright. Length: 1,200-6,000 words (articles and interviews); 600-1,500 words per book (reviews). Comments: Prefer articles dealing with contemporary (post-1980) work; prefer articles that range over several works by a single author or that discuss a single theme in works of several authors (but shorter pieces, 1,200-1,800 words, also welcome). Especially interested in survey essays on or interviews of new writers, especially female writers of SF or fantasy. Interviews should address thematic or stylistic concerns. Book reviews should compare/contrast 2-4 books and provide a long-term assessment of the books' ments or deficiencies; especially welcome reviews of recent critical! scholarly books. SCIENCE FICTION STUDIES Specs: 3/year; 160 pp./issue; 6 x 9 inches; circulation: not given. Audience: Academic. Review: Refereed. Contact Arthur B. Evans, DePauw University, East College L-06, Greencastle, IN 46135; < aevaru@\:lepauw.edu> Wehite . Decision: 4-8 weeks. Submit: 1 double-spaced paper copy + 3.5" diskette or as e-mail attachment (WordPerfect or MS Word). Sample: Free. To contributor: 1 copy + 10 offprints. Copyright Publisher copyright. Length: 5,000--9,000 words. Comments: Scholarly, documented articles on all aspects of SF, from earliest works to contemporary; coverage of non-English language SF strong. UTOPIAN STUDIES Specs: 2/year; 250+ pp./issue; 6 x 9 inches; circulation: 500. Audience: Academic. Review: Refereed. Contact: Lyman Tower Sargent, Ed., Political Science Department., University of Missouri, 801 Natural Bridge Rei, St. Louis,MO 63121-4499; (314) 516-5849,fax-7236; . Decision: 4-10 weeks. Submit: 4 double-spaced paper copies + 3.5" diskette or as e-mail attachment (WordPerfect or MS Word). Sample: Free. To contributor: 2 copies; inquire as to cost of offprints. Copyright Publisher copynght.

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Comments: Any length articles regarding any area of utopian studies, including utopian literature, utopian social theory, and intentional communities. About 15% of proposed articles are currently accepted. BOOKPUBUSHERS The information is presented in this sequence: Name and address of publisher. Name of person to whom proposal should be sent, e-mail address, phone/fax numbers (since this information is subject to frequent change, telephone to verify currency); some publishers use outside reviewers. Publisher's Website URL. Audience. Preferred form of submission (one paper coPy is standard). Number of weeks from submission to decisIOn. Type of books desired. ARKAMHOUSE Address: P.O. Box 546, Sauk City, WI 53583, (608) 643-4500, fax-5043. Contact: Editorial Director. Wtb.site Audience: Fan, popular, academic, library. Submit: Letter mail and first chapter. Decision: 6 months. Interests: Primarily a publisher of fiction, originally weird! supernatural, now including SF; occasional but infrequent works of nonfiction, most recent of which is the Joshi bibliography, Sixty Years of A rkham House. BOWUNG GREEN STA TE UNIVERSITY POPULAR PRESS Address: Bowling Green State University, Bowling Green, OH43403; (419) 372-7867, fax-8095. Contact: Ray B. Browne, < abrown@bgnet.bysu.edu>. Web5ite. . Audience: Academic, popular. Submit: Paper propoSal only. Decision: 2-8 weeks. Interests: Books that develop some aspect of everyday culture in a comparative and analytical way. Must be well written. The university library has a large collection devoted to popular culture. Studies of fantastic literature are merely one facet of the publishing program. GALACTICCEN1RAL Contact: Phil Stephenson-Payne, "Imladris, 25A Copgrove Road, West Yorkshire LS8 2SP, England; < philsp@:ompuserv.com> (American distributor: ChriS Drumm, Box 445, Polk City, IA 50226-0445.) Audience.; Fan, library. Submit E-mail proposal. Drision.:2-4 weeks. Interests: BibliograJ?hies of SF authors in stapled 5Yz x 8Yz inch standardized format, offset from typescripts. Approxi mately 50 bibliographIes ISSued by 2000, many in revised editions .. GARLAND PUBllSHING Address: 29 W 35th St, New York, NY 10001-2299, (917) 351-7100, < info@garland.com> Contdct: J ames Morgan, senior humanities editor; < james-morgan@garlancicom> Wtb.site < www.garlandpub.com>. Audience. ubrary, academic. Interests: [No response.] Approximately 450 new books published yearly, with 3,500 title backlist. Arthurian studies. Published Barron's guIdes to fantasy and horror literature. GREENWOOD PRESS Address: Box 5007, Westport, CT06881, (203) 226-3571. Contdct: George Butler, acquisition editor, ext. 461. Wlhite . Audience: Libra!)'.

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Submit: Paper proposal only. Decision: 4-20 weelis. Interests: One of the very few publishers with a series, Contributions to the Study of Science Fiction and Fantasy, over 80 tides of which had been published by spring 2000 (see Website for listing). Prefer individually authored works, 60,000-75,000 words, with relatively broad appeal to libraries. Multicultural emphasis a plus. Interested ill children's and young adult studies. Chicago manual gwdelines. Author should submit typescript after acceptance and must be able to submit cameraready copy after coPy editing. Proposals are evaluatedby Donald Palumbo (SF) and C. W. Sullivan III (fan?S)'). The Critical Companion series IS separate, aimed at the high schooV public library market, and proposals are usually soliCIted. INDIANA UNNERSITY PRESS Address: 601 N Morton St, Bloomington, IN 47404, (812) 855-6804. Contact:Joan Catapano. Wd?site < www.inCliana.edu/ iupress > Interests: [No response.] KENT STATE UNNERSITYPRESS Address: Box 5190, Kent, OH44242-OOO1, (330) 672-7913, fax-3104. Contact: Joanna Hildebrand Craig, Editor-in-Chief. Website < www.bookmasters.conllksu-press/>. Audience: Academic, library. Submit: Paper proposal only. Decision: 6-8 weelis. Interests: Inklings criticism, fantasy, literary history and criticism, biography. Published Bleiler's three major bibliographies. LIBARIES UNLIMITED Address: 6931 S Yosemite, Englewood, CO 80112, (303) 770-1220, fax (303) 220-8843. Contact: Barbara Itner or Betty Morris, < bittner@lu.com> ext. 213. Wab.site . Audience: Library, academic. Submit Paper or e-mail for proposal; writing sample will be requested. Decision: 2--6 weeks. Interests: Annotated bibliogra.ehies, indexes, readers' advisory guides, and reference books. Published several of Hal Hall's bibliographies and the Genreflecting series of readers' advisory guides. UVERPOOL UNNERSITYPRESS Contact: David Seed, Modem Language and Literature Department, University of Liverpool, Liverpool L69 3BX, England, < dseed(g)liverpooLac.uk > Website < wwwliverpool-unipress.co.ukI> Audience: Academic, library. Submit: 1 paper copy. Decision: 8-12 weeks. Interests: The Liverpool Science Fiction Texts and Studies series included about 20 tides by 2000. Edited by David Seed, series advisors include 1. F. Clarke, Edward James, Patrick Prrinder, and Brian Stableford Some books have been copublished in the United States (Syracuse University Press, St. Martin's). All non-copublished tides are distributed in the United States by ISBS, Portland, OR. Published to date are collections of essays, multIply and individually authored, and studies of themes or of individual authors. McfARLAND & COMPANY Address: Box 611,Jefferson, NC 28640; (336) 246-4460, fax -5108, (800) 253-2187. Contact: The Editors, < editorial@mdarlandpub.com> Wd?site Audience: Library, acadeni.ic, fan, popular. Submit Paper proposal with first cliapter draft. Decision: 1-2 weekS. Interests: "Historically, our primary interest has been in large, comprehensive (better: exhaustive), serious works on topics both narrow and broad that have little or no competition." Very strong in studies of fantastic film, radio, TV. Film books usually have many black-and-white reproductions. Has published several Wells novels with annotations by Leon Stover. Website shows wide range of publications.

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NESFAPRESS Address: Box 809, Framing4am, MA 01701-0203. Contact: Tony Lewis, ; (617) 625-2311, fax (617) WIhite . Audieru:e: Fan, library. Submit: E-mail proposal. Decision: Not stated. Interests: Bibliographies of SF writers. PENN STATE UNIVERSITY PRESS Address: 820 N University Drive, University Park, P A 16802; (814) 865-1327. Contact: Peter Pouer, Editor-in-Chief, < pjp8@psu.edu> Web.ite: < www.psu.edu/psupress> Audience: Academic, lib Submit: Leuer with first: on paper. Decision: 6-8 weeks. Interests: Many books published in series, e.g., history of the book; romance literature; philosophy in literature; biographical studies; gothic studies; no film. ROUTLEDGE Address: 11 New Feuer Lane, London EC4P 433, England. (New York office: 29 W. 35th St, New York, NY 10001.) Contact: Commissioning Editor [show subject of proposal on envelope]. . Audience: Academic, library. Submit: Paper with first chapter on paper or diskette to London office. Decision: 2-6 weeks. Interests: Primarily nonfIction for undergraduate and graduate students. Strong on cultural studies. See Website for range. Not all books distributed in United States. ST. JAMES PRESS Atidress:27500 Drake Road, Farmington Hills, MI 48331-3535; (800) 347-4243. Contact: Amanda Moran, New Product Development. WIhite . Audience: Lib Interests: Edi:?'reference books on genre literature with generic title St. James Guide to [t}l>e of literature], such as those devoted to SF, fantasy, and horror. Outside editor usually solicits from many contributors. Inqwre if new editions are planned and if contributors are sought. ST. MARTIN'S PRESS Address: 175 Fifth Avenue, New York, NY 10010-7848; (212) 982-3900, fax (212) 777-6359. Contact: Michael Flamini, Editorial Director, Scholarly and Reference Division. WIhite < www.strnartins.com > Audience: Academic, library. Submit: Leuer mail proposal. Decision: 4-8 weeks. Interests: Literary criticism, all fantastic genres. Many works are copublications of British editions. See Website for typical works. ST. MARTIN'S PRESS Address: 175 Fifth Avenue, New York, NY 10010-7848. Contact: Gordon Van Gelder, Senior Editor, or Bryan Cholfm, Assistant Editor, Trade Division, (212) 674-5151, (212) 529-0694; < gordon.vangelder@stmartins.com> WdJsite < www.strnartins.com > A udience: Popular. Submit: Leuer proposal with first: chapter. Decision: 2-12 weeks. Interests: Most SMP books devoted to fantastic literature are from scholarly and reference division with limited appeal. Trade books require much broader appeal. Best known for copublishing The Encyclopedia o/Science FictionlFantasy volumes.

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SALEM PRESS Address: 131 N El Molino, Suite 350, Pasadena, CA 91101; (626) 584-0106. Contact: MarkRehn, Editor, < mrehn@salempress.com> Wd:5i!e < wwwsllempJ."e$.com> Audience: Library. Submit: Letter or e-mail proposal; writing sample will be requested. Interests: Multivolume reference books with outside and inside project editors coordinating the work of freelance contr.ibutors. Best known for its surveys of SF and fantasy literature series. Inquire if any forthcoming series are soliciting contnbutors. SCARECROW PRESS Address: 4720 Boston Way, Lanham, 1v1D 20706; (301) 459-3366, fax-2118. Contact: Katie Regen, Assistant Editor, ext. 5306. Wd:5i!e < www.scarecrowpress.com> Audience: Library, acadelll1c, fan, popular. Submit: Letter proposal with first chapter. Decision: 8-16 weeks. Interests: About 35 books have dealt with fantastic literature or:film, including reference works such as Barron's Fantasy andHorror, scope of publishing program is wide; see Website For details. 1WAYNEBOOKS Address: Macmillan Marketing, 1633 Broadway, 6th Floor, New York, NY 10019; (212) 654-8428. Contact: Richard Carlin, (212) 654-8414. Wd:5i!e . Audience: Library. Submit: 1 paper copy with outline, sample chapter and your resume. Decision: AbOut 12 weeks. Interests: Well known for the long-running Twayne's u.s. Author Series (IUSAS) and English Author Series (fEAS), most of which are studies of individual authors written to a standardized format and aImed at liigh school and undergraduate students. A few volumes have been more inclusive, such as the Presenting YoungAdult Science FictionlFantasy twins. Another series, devoted to individual books, has included a handful of fantastic fiction titles. UNIVERSITY OF PENNSYL V ANIAPRESS Address: 4200 Pine Street, Philadelphia, PA 19104-4011. Contact: Patricia Smith, (215) 898-1709, fax -0404; < smithp@pobox.upenn.edu > Audience: Academic, library, fan, popular. Submit: Letter mail with first chapter. Decision: 8-12 weeks; contributor will be notified if publisher interested, with outside review normal. Interests: Studies of the business of fantastic literature; of fan subculture; critical studies of individual writers of fantastic literature; media studies. VERSO BOOKS Address: 6 Meard Street, London W1 V 3HR. Wd:5i!e . Audience: Academic, library. Interests: [No response.] Cultural studies, usually from a left-wing perspective. Distributed in United States by Norton. WESLEY AN UNIVERSITY PRESS Address: 110 Mt. Vernon Street, Middletown, CT 06459; (860) 685-2420, fax -2421. Contact: Suxanna T amminer, Editor-in-Chief; < stamminer@wesleyan.edu> Wd:5i!e Audience: Academic, library, fan, popular. Submit: Letter or e-mail proposal with first chapter. Decision: 2-12 weeks. Interests: Scholarly studies of SF-history, criticism, cultural, and media studies.

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NONACTION REVIEW IlIF #iLIJI Barron Young, R. G. The Encyclopedia of Fantastic Film, Ali Baba to Zombies. Applause Books, 1841 Broadway, Suite 1100, New York, NY 10023, April 2000. 1016 p. $39.95, trade paper. ISBN 1-55783-269-2. The back cover of this x 11 x 21,4-inch, three-pound paperback modestly claims this filmography was "thirty-five years in the making, and destined to be the last word in fanta-fum references." Its title suggests its scope is limited to SF I fantasy/horrorflinis, but in fact mysteries, "heavy melodrama," and film noir are included, resulting in more than 9,000 entries, both theatrical and made-for-TV fUms. The entries make up 70% of the book and show year, country of origin, studio, color or black and white, and running time (or length for early films). Credits occuPy most of the space, even including, in many cases, the name of the character. One line provides a standardized evaluation le.g., minor SF aaventure) and a plot summary. Brief quotations from published reviews, usually from suspect fan sources, are sometimes included. Literary sources are usually shown, as are variant titles, which are very common for these mostly dreadful fums. Everyone mentioned in the credits is included in the 270 page "index of artists," which also lists the film or films in which they appeared or upon which they worked. A chronological index, 1896-1997, occupies 24 four-column pages. A five-page oddity is an index to songs mentioned in the flim entries, ranging from "Black Queen Beads" in Barbarella to "Over the Rainbow," but "Creature of the Night, which is mentioned in the entry for The Rocky Horror Picture Show (there are many similar offilSSions). A list of characters in fifteen series, mostly mysteries (Boston Blackie, The Thin Man) concludes the book. Roughly two thirds of the pages devoted to fum entries have black-and-white reproductions of studio publicity shots, which add nothing to the bOOK but break up the text a bit. Fans of fantastic cinema have been well served over the years. The best reference flimographies are those edited by Phil Hardy for the British Aurum Film Encyclopedia series. The latest American editions, bom published by Overlook (1994), are TheOverlookFilmEncyclapedia:Horror,about1,800fihns,1896-1992,andTheOverlookFilmEncyclopedia:ScienceFiction,about 1,500 fUms, 1895-1990. These are chronologically arranged, with title indexes. Unlike Young's text, the terse annotations provide much more useful detail, descriptive and critical, and reflect the extensive knowledge of their contributors. For use, consider the annual Movie aiul Vzdeo Guide edited by Leonard Maltin (Signet, $7.99 for the 2000 edition), which Illcludes 20,000+ entries, including almost all fantastic fUms of any importance. The Internet Movie Data Base (imdb.com) has several times the number of filius in Maltin and far greater detail on each. Ify oung, who is not identified in any way, really did devote part of 35 years of compiling this filmography, an incredible admission, my only suggestion to him is, get a life. NONFICTION REVIEW IlIF II'UU;INARY PLAeTs Barron Manguel, Alberto, and Gianni Guadalupi. The Dictionary of Imaginary Places. Revised edition Harcourt Brace, 15 E 26th Street, New York, NY 10010, November 1999. xvi + 755 p. $40. ISBN 0-15-100541-9. In 1980, a wonderful gazetteer, published by Macmillan, was written by the erudite Alberto who subsequently wrote the fascinating 1996 book, A History of Reading, and Gianni Guadalupi. Slightly revised in 1987, It has again been revised and should provide pleasure and enlightenment to a new generation of dreamers. The compilers are both translators and are thoroughly familiar with European and other literatures. They began in 1977 to compile a preliminary list of imaginary lands and soon realized they had to establish some limits, as they wittily explain in their foreword: "We began by deliberately restricting ourselves to places that a traveller could expect to visit, leaving out heavens and hells and places of the future, and including only those on our own planet." (For future and extraterrestrial Sites, see Brian Stableford's The Dictionary of Science Fiction Places [reviewed in SFRAREVIEW #243].) They acknowledge the help of many others and mined two key works, Pierre Versins, Encyclopedie de l'Utopie, des Voyages extraordinairesetdela Science-Fiction (1972), and Philip Gove's TheJmaginary Voyage in Prose Fiction (1941). Their listtotaledalinost 2,000 places two years later but was culled to about 1,200 for the first edition. Sometimes, they admit, the choices were arbitrary: "for some entries we can present no convincing excuse. Ultimately we admit to having chosen certain places simply because they aroused in us that indescribable thrill that is the true achievement of fiction, places without which the world would be so much eoorer. We will not denounce them, and hope that the reader will not mind their intrusion." The descriptIon of each place is taken from the original source, cited at the end of each entry, and only rarely do the compilers add personal comments (their sly humor is evident in the concluding line the destruction of the children of Miawich in a grange: "The grange, however, was of no great architectural interest"). When other sites are mentioned, they are printed III caps to denote they have their own entries. Many entries are quite detailed: Middle-Earth

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occupies five pages, one of them an extraordinarily detailed map, with dozens of cross-references to other Tolkien places. Tlie lengthiest entry is for Utopia, nine pages, one a map. A few films are sources, such as 1955 's Brigadoon and 1933's Duck Soup, where Freedonia was savaged by the Marx Brothers. The sources range from Homer to J. K. Rowling's Harry Potter series to A. S. Byatt's 1998 collection, Elementals, the most recent source. I counted about a dozen places new to this edition, including Neil Gaiman's Neverwhere and Crichton's Jurassic Park. Many places in Lovecraft's "The Dream-Quest of Unknown Kaciath" are discussed, but the decadent visions of Clark Ashton Sffilm were apparently felt to be too otherworldly. The funniest entry is for Wastepaperland, far more relevanttoday than in 1863, when The Water-Babies by Charles Kingsley was published. The excellent index, by author and title of the source stories, reveals what you might have guessed, that T olkien' s works account for more places than any other author, although works by Baum, Burroughs, C. S. Lewis, and Le Guin contribute a respectable number of entries. The 150 outstanding maps and charts James Cook have been retained, although reduced in size (from a page size of x 12 to 7 x 9% inches), with the original illustrations by Graham Greenfield supplemented by new illustrations by Eric Beddoes. You'll fmd most of your favontes, and a lot you never heard of, in this marvelous compilation. As e.e. cummings said back in 1944: ... listen: there's a hell of a good universe next door; let's go [Not seen is a work larger libraries might want to aC'luire, Language of the Land: The Library o/Congress Book a/Literary Maps, 1999, by of Congress staffers Martha Hopkins and Micliael Buscher, $50 from the Superintendent of Docu ments, Box 371954, PIttsburgh 15250-7954, stock number 030-001-00178-4, or by calling (202) 707-0204. Amazon.com is also selling this for $50, ISBN 084409634, and their site has a page of text by Hopkins, who says that the Library of Congress guide, a 304-page hardcover, describes ten other literary atlases held by the Library of Congress. -Ed] NONFICTION REVIEW Neil Barron Keyes, Daniel. Algernon, Charlie and I: A Writer's Journey. Challcress Press Books, Box 7148, Boca Raton, FL 33431, February 2000.223 p. $24.95. 1-929519-00-1 Daniel Keyes (1927-) wrote a few SF stories before the novelette version of "Flowers for Algernon" appeared in the April 1959 Magazine o/Fantasy and Science Fiction, won the Hugo, and concludes this memoir. In 1967 the novel version tied for aN ebula. Knowledgeable as members may be, I doubt whether more than a handful could even name another story or book by Keyes. In fact, his SF stories have been collected only in a Japanese edition, and several other works have also been published only in Japan. This memoir appears at the same time a new TV version was broadcast with Matthew Modine effective in the role of Charlie Gordon. Keyes's account relates a number of incidents from his own life that he effectively reworked for the novelette and later the novel, such as dropping dishes in a restaurant and bein& called a moron. He explains his difficulties in choosing a suitable narrative SJructure for the novelette. At the recommenciauon of an agent, he personally took the story to H. L. Gold's New York City apartment. Gold read the story, said it was &ood, and could be made great by having Charlie marry his teacher and live happily ever after. Keyes knew better, but the msistence on a happy ending persisted. The producers and sponsors of the U.S. Steel Hour wanted an upbeat ending for a 1961 live TV aciaJ?tatlOn that starred Cliff Robertson. The script called for Robertson to suggest that Charlie retained, not lost, his newfound mtelligence, but he was so much part of the cliaracter that he didn't follow the script. He was excoriated for this, but the rave reviews the next day and an Emmy nomination offset the criticism and led to Robertson buying film rights, for which he paid Keyes $900. But Robertson himself is quoted: "Of course, Dan, you realize that in a full-length movie, we can't have a downbeat ending. The audience could never handle that." Fortunately, the final film script retained the original ending. Robertson was only the second person to win a bc;st actor Academy award in an SF film (the first was Fredric March in 1931 's Dr. Jekyll andMr Hyde), and no one has won one smce. After rejection by five unnamed editors, Harcourt published the hardcover novel in 1966 and later added it to their Modem ClasSICS series. It hasn't been out of print since. Twenty-seven foreign editions have been published, and the Bantam paperback was in its eighty-ninth printing by 1999, with 4.9 million copies having been J?rinted. It's an example of a "steady seller" (like, say, Winnie-the-Pooh, about a bear with little brain), rather than a bestseller, WIth spectacular but short-lived sales_ Some critics have felt the novelette is more unified and has greater emotional impact because of its concision, but the novel is necessarily far better known_ Keyes has always resisted" explaining" the story, leaving that to readers and critics. His account is most valuable as a case study in lIterary composition and as a testament to a low-IQ student who one day came to him and said, "Mr. Keyes, I want to be smart." In an afterword, Keyes notes the results of the research on enhancin& mouse intelligence reported last September. He phoned the lead investigator at Princeton and asked, '''How long do you think it will take to increase human intelligence?'

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"After a long J;>ause, Dr. Tsien said, 'I expect it to happen in the next thirty years.'" [Ko/es was the subject of an interview in the June 1997 Locus, and his Website, < http;//flite.net! clkeyes > provides additional information. -Ed] NONFICTION REVIEW 'REN"': PARALLEL NARRAnYES lusan George Gregory, Chris. "Star Trek": Parallel Narratives. St. Martin's Press, 175 Fifth Avenue, New York, NY 10010, Decem ber 1999. vii + 225p. $35. ISBN 0-312-22583-0. The stated scope of this book is ambitious, perhaps too much so, as it sets out to examine all the Star Trek series, including Deep Space Nine the frfth season and Voyager through the third season, and the films up to First Contact. The critical approaCh is just as ambiuous, as it aims to read each series in its historical-cultural context, as myth and as a "televisual" event. To accomplish this enormous task, Gregory, an instructor in frlm and media studies at England's University of Lancaster, divides the book into three parts. Part 1 focuses on the narrative conventions used in the different series and how change in the media environment contributed to these changes. This section includes some_general discussion regarding the development of the series, Roddenberry's concept for the original series, and the difficulties he had sellin.g the idea to the networks. Most of this section, however, consists of plot summaries of each series or film, focusing on the different generic conventions then used, them to changes in die media market and the audience. For example, the effect of the widespread use of VCRs by viewers Its discussed. Part 2 considers "the ritualistic role of' cult' television" and how" Star Trek can be considered a 'modem mythic' text." This is the strongest section of the book, for it includes some interesting details regarding Klingon fan groups and fInds correlations between other mythic texts such as the Iliad and Star Trek books. This section also discusses how the various characters represent a balance of mythos and logos in each series. Again, however, the book is trying to cover so much ground that the examples often become a quick list of series and film titles and plot summaries instead of specruc examples. The connection between myth and Star Trek is more thoroughly examined in works such as John Wagner and Jan Lundeen's Deep SpaceandSacredTime:StarTrekintheAmericanMythos[reviewedinSFRAREvmw#242]. The fmal section examines the "nature and various aspects of Star Trek's liberal-humanist approach to storytelling," among other things examining the way in which the Star Trek series that follow the Star Trek often critique Roddenbery's naive liberal humanism. Issues of racism, sexuality, and gender are briefly discussed in this section but are never completely developed as they are in other books such as EntepriseZones: Critical Positions on Star Trek (Westview, 1996), edited by Taylor Harrison et al. The book contains many errors, ranging from unimportant details to confusing, more important details, as when the swnmary for The Undisccyvered Country states that Kirk and Spock, rather than Kirk and McCoy, are imprisoned by the Klingons. These errors weaken the book's argument and point to the larger problem of its colossal scope. With so much to cover, the book contains too little analysis and relies too much on the plot summaries to make its points. Though the appendix containing the titles and authors of the various series e..eisodes is useful, for research purposes, much of the information is accessible in other printed materials or through official, unofficial, or fan Websites. It's nice to have all this information in one place for those who wish to reminiscence about Star Trek, but serious Trekkers would probably know most of the information regarding the development of the series and some do doubt would find all the small errors annoying. Therefore, regretfully, I cannot recommend this book. NONRCTlON REVIEW W"HEN' ftIIE 6LEEP.ER W"ARES Robert Iheddey Wells,H. G. WhentheSleeper Wake5.-A Critical Text of the 1899New York andLondon FirstEdition with an Introduction and Appendixes, edited by Leon Stover. McFarland and Co., Box 911, Jefferson, NC 28640, March 2000. xi + 465 p. $55. ISBN 0-7864-0666-6. For the nonspecialist, this edition presents a few problems. My frrst thought had been to read it through without reference to the introouction, footnotes, or appendixes. This plan didn't work for me. Wells's Sleeper bored me. His writing seemed to offer all the objections one usually makes to the VIctorian style, especially its wooden descriptions and stilted speeches. Yet age alone was not the problem. I kept thinking of Homer's Odyssey, a tale far older but still capable of thrilling. The fault seemed to lie in w hat Wells cared about-his modernism, his futurism, and his psychology. Homer's characters nng true. Wells's do not. But there is a fascination here regardless. Sleeper is important. But how is a nonspecialist reader to get

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at that importance? By Chapter 4, I had given up trying to read for the story and turned instead to Stover's scholarly apparatus. This became increasmgly important as I read on, because it told another, parallel story-the reactions and thoughts of an educated, modem reader. I was willing to at least entertain Stover's idea of why Steeper was important. Reading his foomotes, I became aware of Wells's great influence on Robert Heinlein, and on Woody Allen in his Sleeper, on SF in general, and on the utoJ?ian and dystopian forms in particular. These things interested me much more than Wells's social views or his conceptions ofliistory, Marxism, capitalism, history, and the future of mankind in general. Now I gave up any attempt to continue my fIrst, naive reading ofW ells's story. I turned to the introduction to clarify some matters alluded to in the footnotes. I found myself ranging through the edition-footnotes, text, introduction, and appendixes-as ifI were reading a novel of a special sort. I am thinking ofPavic's Dictionary a/the Khazars, a recent novel arranged as three alphabets, a J ewisli, a Christian, and a Moslem, with scholarly notes and appendixes. This book, Pavic says in his mtroduction, can be read in any order. But I found it perfectly satisfactory to read it straight through. Stover's Sleeper, on the other hand, demands rather than invites a reading in which you jump from one thing to another. Read in this way, it is vastly illuminating, interesting, and amusing. But only with Stover s addenda! Otherwise you lose the references to Wells's peculiarities, to the urnes in which he wrote, his view of history and futurism. The text supports Stover's view of Wells and his times and his influence. Read in this way, I can recommend this book to the general reader. NONFICTION REVIEW W"'.NlftI: lIARs Arthur O. lewis Aldiss, Brian W., and Roger Penrose. White Mars, Or, The Mind Set Free, a 21st Century Utopia. St. Martin's Press, 175 FifthAvenue,NewYork,NY 10010, April 2000, xi + 322p. $22.95. ISBN 0-312-25473-3. One month after the fIrst piloted landing on Mars, the U.N. agrees to a temporary hold on "large scale projects" on the planet while permitting scientists to search there for the Smudge, "the elUSIve fmal ghost of a 'particle. Within 25 years, a 'p'opulation of about 6,000 carefully selected, highly tramed, and intellectual YEAs (Jounz enlightened adults) and DOPs taistinguished older persons) inhabit the domed city of Mars City-sometimes, Areopolis-and the science dome close by, near Olympus Mons. In 2066, corruption in the sponsoring organization, EUP ACUS, and the ensuring economic meltdown all over the world, cause a complete breakdown of communication from Earth. This disaster leaves the colonists to fend for themselves, but provides opportunity for Tom Jeffries to lead the process of creating a utopian society. The remainder of the story is told in the "Testimonies" of Tom, a DOP, and his adopted daughter, Cang Hai, a YEA. Discussions on what their utopia should be are long, frequently rancorous, and often dead end. The goal is to eliminate "those errors of perception" that cause problems on Eirth, and to "build a perfect and just society." All discussions and accounts of many of their activities are transmitted to Earth. Utopian novels are almost always dull and expository, with often-forced story lines intended to make the presentation more interesting. This book is no exception. Despite fundamental disagreements among the participants, violence against Tom, Cang Hal, and other pro-utopians, arrogant behavior on the part of the scientists, life-threatening illnesses, passionate sexual affairs, the moving mountain that may represent hostile life on Mars, and, above all, the fear that when Downstairs (Earth) recovers from its problems and reasserts its power, terraforming will begin, there is little sense of excitement. Nevertheless, a utopian society slowly develops. The end is a surprise: Olympus Mons, renamed Chimborazo, is discovered to be a communal life form that, with the help of the scientists and their supercollider, manages to reproduce. The transmissions from Mars had been beamed around the world, which, reeling from economic and natuial disasters, followed the arguments beamed from Mars and became a utopia. A fInal "note" by Cang Hai's granddaughter tells of her life on Ganymede and mentions her mother's residence on Iapetus, continuing research in the Oort Cloud, and plans for exploration beyond the solar system with the help of humanity's symbiotic relationship with Chimbos, the spawn of Chimborazo. .. E:rrlier writers like Bogdaiiov, Jones and Lasswitz, Olerich used !VIars of an older civilizatlbn whose perfect SOCIety deserved emulatlonj more recently Kim Stanley Robmson s (still unfIrushed?) Mars senes describes in detail the building of a Martian utopia. Aldiss and Penrose, who pay homage by naming an Areopolis street for him, follow a similar pattern, with much less success. Nevertheless, White Mars 15 wortli reading if orily for its speculations about the nature of human society, the human mind, particle physics, and extraterrestrial life.

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NONAOlON REVIEW Cynthia Davidson Seed, David, ed. Imagining Apocalypse: Studies in Cultural Crisis. St. Martin's Press, 175 Fifth Avenue, New York, NY 10010, December 1999. ix + 240 p. $55. ISBN 0-312-22279-3. London: Macmillan. ISBN 0-333-71452-0. The writings of end-times, disaster, and revolution (and in some cases one say rebirth or perhaps recycling) are the themes of this collection of fifteen original essays. The collection takes many pams to define apocalyptic thinking and writing, in itself a tremendous task, while illowing the authors to showcase their virtuosity in a variety of critical techillques and styles. Although many essays investigate the poetics of human disaster, the book is much more than that; it's a solid rhetoric of postmodern criticism embedded in its own historical and cultural Each essay illustrates a different cultural tabula. Several look through a political filter. George Slusser views survivalism as a never-continuous apocalypse-in-the-now through the filter of Waldin. Charles E. Gannon compares British and Ameri can images of nuclear holocaust to illustrate psychological differences between viewers of the two nations. Seed examines two early commentaries of the Hiroshima bombing to show how their representation in the public mind was shaped by rhetorical stances. Another essay examines the uses of apocalyptic rhetoric in Afro-American literature and oratory, both antebellum and postbellum. Other essays have a primarily psychological slant. Nick Davis reveals the restrictions that ordinary minds work under while ordering an apocalyptic present in Ballaid's Crash and 1heAtrocity Exhibition, in which technolOgIcal disasters become the unrehearsed theater of the Oedipal conflict. SF's postapocalyptic culture is explored in several essays. Val Gough looks at a culture that gives rise to a gender challenge reflecting diverse contemporary styles such as punk! goth. Relating texts of futurism to texts of the remote past, medieval historian Edward James suggests that the Book of Revelation is a progenitor of all SF works, and looks at the end-times as represented in Judeo-Christian revelation and SF as "rival eschatologies." Marleen Barr's "Jews andlndependenceDcry, Woman Science Fiction Apocalypse Now Evokes Feminism and Sexism" loses the humanist edge by looking at N aZlSm and SexISm in a fairly mechanical way. Her essay' can be best viewed as a performance l?iece, to be read aloud in a group. Veronica Hollinger's concluding piece calls on Baudrillard and Jameson to clarify theoreucal perspectives. The audience (or these rather heavy essays is academic and large university libraries. But it's still a valuable book and extraordinarily timely. FICTION REVIEW ""E rElLa7 landra Undow Asaro, Catherine, The Veiled Web. NY: Bantam, 1999,356 p., softcover, $5.99, ISBN 0-553-58151-1. Marketed as mainstream, near future, cyber-suspense, Catherine Asaro's fifth novel, The Veiled Web, blends mystery, hard science, and romance. Asaro, best known for such romantic space operas as the award-nominated, Last Hawk, sets this novel closer to home. In 2010, Lucia del Mar, an internationally known ballerina, is accidentally kidnapped along with handsome Moroccan computer genius, Rashid al-J azari. Although the novel begins predictably with a 5udding romance, it moves quickly into thriller mode. Why do international terrorists want Rashid? What are Rashid's true motives in r.narrying Lucia while she is still injured and in shock from the aborted kidnapping? Is Rashid keeping Lucia secluded in his family's harem totally for her own protection? Will Lucia give up her career to live in luxurious Chacirah, veiled from the world? Such soapy questions are common to romance novels, and Asaro answers them well. What is significant to the science fiction reader is Asaro's depiction of an evolving AI. Zaki, originally intended as a sophisticated W orId Wide Web tour guide, has begun to develop personality and awareness. Moreover, he has terrible potential as a weapon in the wron& hands. Rashid, as CEO of the family business, returns to work in Tangier soon after the kiCinapping, leaving Lucia in the family home with little to do. Lacking the language skills to converse with Rashid's female relatives, she spends time talking with Zaki and helping him work through the complex interpersonal interaction problems that are causing him to crash. In effect, she becomes Zaki' smother, just as Rashld is Zaki's father. Zaki's evoluuon toward a humanlike awareness includes lying, loving, ethics, and self-sacrifice. Primarily through Lucia's efforts, Zaki becomes sophisticated enough to pass a Turing test for identifying artificial intelligence. Lucia is first aware of Zaki's potential when he lies to Rashid by the evidence of his mistakes. She decides to talk with the AI about his moral behavlOr. At first, Zaki does not believe that he lS capable of making moral choices. Later, when he tells Lucia that Rashid is having trouble getting another phone line brought to the house, she asks: "How do you know he had trouble with it?" He grinned. "I listened in on his calls."

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"Zaki!" she scolded. "You've been misbehaving." "It was a logical precaution," he said with dignity. "Access to the Internet is important to my continued development." Here Zaki sounds like a little professor, a smart child trying to rationalize some behavior. Later, Zaki becomes sophisti cated enouph to enter an Internet chat room and successfully interact with the avatars of computer experts, fooling them into believmg that he is human. Eventually Zaki seems to have integrated a mature level of personal awareness and moral development. Asaro, who has a Ph.D. in physics from Harvard, handles Zaki's development with subtlety and intelligence. Other characters are less believable. The gang of international terrorists are comic-oook cutouts at best, and the romance strains credibility. This may be because of the genre mix. In a romance, the heroine must not be punished for desire. Thus, when Lucia falls for Rashid because he is brilliant and devastatingly handsome, he can try to force his traditional lifestyle on her but he cannot get away with it. In the end, she must not have Suffered too much; he must have seen the error of his ways; and the lovers must be together. To the romance reader, it is only right that Rashid with his traditional Moslem values must come a further distance to compromise than the open-minded Lucia. In the real world it's usually not so easy. Recommended as an enjoyable read for those comfortable with this fairly unlikely mix of suspense, hard science, and light romance. FICTION REVIEW Joan Gordon Wolfe, Gene. Strange Travelers. New York: Tor, 2000. 384 pages, cloth, $25.95. ISBN 0-312-87227-5. Gene Wolfe, writer of vast encyclopedic narratives such as the Books of the New Sun, the Long Sun, and the Short Sun; master of the linked novella cycle, as in TheFifthHead oJCerberus (1972) and The WolJeArchipelago (1983); is also the creator of many, many short stories and unlinked novellas, some of which have already been collected, most notably in The JslmdofDoctor Death and Other Stories and Other Stories (1980) 'JJJ.dEndangercdSpecies (1989). Strange Travelers colle(:ts stories published between 1993 and 1997, all having something to do with journeys. Like those two collections (and there are others), this is a major body of work. The stories here, which share a stately, gentle voice, all partake of the parable, the allegory, the riddle story, enigmatic and numinous, what John Clute inimitably calls an "oneiric jeux d'esprit." I don't understand them all, or completely, but my sense is always that the clues to understanding are there for the wise enough reader. They may be enigmatic, puzzling, difficult, like dreams, but they nevertheless please because, unlike dreams, they are shaped by the artist into graceful prose, and because that peaceful voice is present even when the stories are angry or bitter. Several stories have obvlOusly religious themes: "No Planets Strike" and "And When They Appear" about Christmas, "Bed and Breakfast" about Dante's Inferno, "To the Seventh" with its chess game between God and the Devil. Other stories less directly address the Christian ur-Joumey from this life to the next, and do so with apal1?,able longing and poignancy: "Counting Cats on Zanzibar," "The Man in the Pe{,permill," the beautiful "Useful Phrases, and the collection's central je:vel, the wonderful "The Haunted Boardinghouse." ThiS group of stories is particularly fine, rewarding at each reading, satistying and revelatory while remaining essentially mysterious. "The Death of Koshchei the Deathless," "Queen of the Night" (a vampire tale), and "The Ziggurat" are gripping, ingenious, a bit misogynistic, and memorable; "OneTwoThree for Me" and "Flash Company" are merely capable and intriguing. The stories are, as one would expect, uniformly well crafted, with no duds. Although the stories have much in common about their tone, their voice, their allegorical nature, their spiritual and sometimes overtly religious motifs, and their theme of journeying, they did not exhibit the direct linking of a story cycle until I read the last story. Although it seems unlikely that Wolfe intended from the stories' inceptions that they would all form a unit, the last story rewrites and revisions them. First we realize that the viewpoint character, Tim Benson, of the last story, appeared in the first story as well. Next, an allegorical figure (in fact, it is Morpheus from Sandman) grants Tim the gift of all the dreams he had never had, and then the first story of the volume begins to unfold from Tim's viewpoint instead of the original character's. The rest of the stories in the volume are now enclosed in the circle, further dreams whose common voice-calm, dignified, sad-is explained by their presence in the mind of one dreamer, oneiric indeed. This is a beautiful collection. My one regret IS that it still leaves Wolfe's magnificent MelvilleaniKiplingesque fairy tale, "The Sailor Who Sailed after the Sun," uncollected. And what an oneiric journey it is. Nevertheless, this collection of Strange Travelers resonates long after one closes the book, Endless like Morpheus who grants Tim's drearnlife. This has been a good year for major Wolfe, On Blue's Waters having just launched an important new novel cycle.

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ACTION REVIEW 7HEWOHDER Kenneth AndreW! Beresford, J.D. The Wonder. Lincoln and London: University of Nebraska Press, 1999. 295 pages, paper, $13. ISBN 0-8032-6162-4. [Introduction by Jack L. Chalker] The Wonderwas originally published in the UK in 1911 as TheHampdenshire Wonder. Brian Stableford comments on Beresford in Clute and Nicholls's The Encyclapedia a/Science Fiction, "Son of a clergyman, he was crippled in infancy by polio; both facts were influential in forming his worldview. A determined but defensive agnosticism normally guides the development of his futuristic and metaphysical speculations ... [The Wonder is] a biographical account of a freak superchild born out of his time ... (p.llO). The story is structured around the observations of an unnamed journalist who follows the career of "Ginger" Stott (nicknamed for the color of his hair). The first part of the story is Ginger's exceptional, self-taught skills in cricket, his desire to have a son to whom he could teach those skills, and the injury that takes Ginger out of the game forever. Later the journalist encounters a strange, hydrocephalic infant on a train with its mother. The child is Victor Stott, son of Ginger. The father feels shame and repulsIOn for the 'blarsted freak' 54) and eventually abandons the family. Ellen Mary Stott, the mother, thinks of Victor as a god. ... she worshipped the lllscrutable wonder that had used her as the instrument of his incarnation" (p. 85). In addition to his physical oddity and his aura of extreme intelligence and introspection, the child has a "psi" power, an inexplicable psycholOgIcal hold over others in his vicinity that compels them to acquiesce to his wishes. The rest of the story involves characters who represent various social or intellectual types who attempt to understand Victor, "the Wonder." Percy Crashaw is the local pastor who views the Wonder as a "malign incarnation" of evil (p. 89) since the Wonder refuses to acknowledge the existence of God or accept Biblical authority. (The Wonder considers "God" to be a meaningless construct unworthy of contemplation.) Henry Challis is the well-meaning local landlord, intellectual dilettante, and amateur anthropologist who studies the "prirrutive peoples of the Melanesian Archipelago" (p. 113). Gregory Lewes, secretary to Challis, IS a student of psychology and a skeptic who doubts the superiority of the silent, uncommurucative child. Challis encourages the Wonder to visit his extensive library, and the Wonder first reads books on English etymology and then the Encyclopaedia Britannica, finding its presentation of human knowledge to be "'elementary ... inchoate ... a disjunmve ... patchwork.'" (pp. 169-170, ellipses in original). Eventually the supercnild comes to a bad end. His body is found pressed into the mud ofthe pond on the Commons. Although the death is ruled accidental, the narrator suspects Percy Crashaw. The narrator comments, "What terrific acts of misapplied courage and ferocious brutality the fanatics of history have been capable of performing when their creed and their authority have been set at naught" (p. 286). The Wonder is one of the first "superman" narratives and a marvelous look back at the presumptions of early twentieth century science, particularly the evolutIonary theories of Henri Bergson. (The journalist narrator is reading Bergson's "Time and Free Will" when he first sees the strange child at the opening of the story. Later the Wonder visits the journalist and pauses to examine Bergson's Creative Evolution [po 236]. The "simian habit of imitation" holds mankind back. In fact, Victor Stott's obsession to rear a son who is free of "bad habits" in cricket is the cause of the child's superiority. "During the period of gestation, one thought had dominated the mmds of both parents-the desire to have a son born without hablts" (P. 60). 1he Wonder is also a good examfle of Cartesian philosophy since the Wonder does not need external data to acquire knowledge. In fact, his intelligence is turned on" and fully developed at birth. His abilities are "'pure deduction from a single premiss ... outside the scope of human reasoning'" and are "not dependent for verification upon material experiment" (pp.256-7). However, this extreme intelligence is really a curse since there is no mystery in the world for the Wonder. "So when all is known, the stimulus for action ceases; when all is known there is quiescence, nothingness. Perfect knowledge implies the peace of death ... (p. 291). This book is also a good example of the nineteenth and early twentieth century pseudo-science of "craniology" (p. 141). Throughout the text, the shapes of the characters' heads are noted. For example, Percy Crashaw "had been ambitious, but nature had predetermined his career by giving him a head of the wrong shape" (p. 87). The village idiot has "a great shapeless head" (p. 99). Lewes, the student of psychology, comments to the narrator about the Wonder, "'The configuration of the skull is not abnormal otherwise than in its relation to the development of the rest of his body ... '" (p. 141). This "disproportion" seems to lessen as the child ages (P. 230). I highly recommend this book (which is ava'ilable online in both the US and the UK). The Wonder is a literary treasure of the anthropology, psychology, sociology, theories of knowledge, philosophy, religion, and local and national politics of its time. Anyone interested in "superchild" or "superman" or "psi-powers" snould put it at the top of his reading list. The connections between the autobIOgraphy the polio-stricken Beresford, his attitudes toward hiinself, and his relationship to his father and mother and the fiction of The Wor1derwould be a worthy application of a psychobiographical study.

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ACTION REVIEW ..-HE ORACLE LIPS Michael levy Constantine, Storm. The Oracle Lips. Eureka, CA: Stark House, 1999. 398 p. $45. Orders to Greg Shepard, Stark House Press, 1945 P Street, Eureka, CA 95501, (707) 444-8050. Stonn Constantine exploded upon the fantasy scene in 1987 with the controversial The Enchantments o/Flesh and Spirit, the first volume in her W raeththu trilogy. Intensely decadent, sexually perverse, and a tad over-written, heavily influenced by both punk. and emerging goth scene, her novels were and are definitely an acquired taste. In the years since the W raeththu bookS, Constantine has proouceda string of startling novels, TheMonstrousRegiment (1989),Herrrzetech (1991), Calenture (1994), Stalking Tender Prey (1995), and Sea Dragon Heir 1999). For better or worse reviewers tend to react strongly to her work, much as they do to the fiction of Richard Calder. Intr ucd by Michael Moorcock, The Oracle Lips collects twenty three of Constantine's short stories, plus one long poem. Eighteen of the pieces are previously published, most in various anthologies, one fine science-fiction story, "The Rust Islands," first appearea in Interzone and another tale, "Fire Born," saw publicanon in Science FiaionAge. Readers who first fell in love with Constantine's W raeththu novels, will also find a story set in that universe, the oddly titled "By the River of If Only in the Land of Might Have Been. "Sweet Bruising Skin" is a remarkably dark tum on "The Princess and the Pea" and, appropriately, saw prevIOUS publication in Datlow and Windling's onginal fairytale Black Thorn, White Rose. Another high pomt is "Angel of the Hate Wind," a powerful supernatural pIece. Not everything m The Oracle Lips is equally polished-the collection includes a number of what are Obviously apprentice works-but overall the quality is qUlte high. So is the price, of course, but it should be noted that the book, the first published by Stark House, is well made and handsomely designed. If you're familiar with and enjoy Constantine's work, The Oracle Lips is definitely worth looking for. ACTION REVIEW '1vEAIn' Rodrigo Blanchard Dedman, Stephen. The An of Arrow Cutting. New York: TOR, 1997. 285p. $13.95. ISBN: 0-312-86832-4. Dedman's A rrow Cutting is a great romp through urban noir, western action, Mafia tradition, and Japanese mythology. AI; Dedman's first published novel, he does a good job of researching the various themes and motifs he uses to tell this bricolage of a story. The basic plot of this novel has the reader following the protagonist, Mage, as he uncovers the mystery of a Japanese magic/luck talisman. As the story develops, Dedman does a great job of develoJ?ingMage's character. Michelangelo Magistrale, otherwise known as Mage, is "nominally a professional photographer" (17), but, in an almost more accurate account given by his father, Mage is better know as a "bum" t 17). This ability to barely support himself with his photography gives Mage the chance to chase-from a small town near Calgary, through Calgary, to Los Angeles, Las Vegas, and eventually Death Valley-after Amanda, the unknown woman, ana the mystery of the magic key. Every story has its driving force, and Mage's love of women is just that. Although he starts his chase after taking a picture of a woman who "walked like a goddess" (18), he eventually gains the ability to "see" anything into existence. When reminded he could create the perfect women, he seriously replies "They're all perfect" (93). Mage's weak-spot, or strength (depending on your interpretation), for women helps Dednlan to layout each of Mase's female-confrontations in a consistent manner. Even when Mage knows he is facing a deaOly she-demon, he has to "shut hIS eyes" to squeeze "the (260). But better than the narrative's phy'sical and psychological tour-de-force, Dedman forces the reader to imagme tattoos coming to life, demons killing with bOdiless heads and handS, plus an especially deadly female demon driving men mad with the naKed void of her face. Toe fantastic elements in A rrow Cutting are what makes this a rather exceptional book. Dedman takes his research oU aFanese and skillfully weaves a story that although traditionally concludes with two men dualingwith magical forces, he playtully tweaks the settings, scenes, characters, actions and intentions to make this fantastic the novel Dedman plays with genre traditions of mysteries/ noir, gangsters, westerns, and fantasies. He includes the fantastic/heroic journey, the one-on-one dual, the cat-and-mouse gangster tag games, and various versions of the femme fatale. He also includes mathematical examinations of magic, psychological discussion of female monsters, and an irreverent god. During the entire time, both Dedman and the reader are aware of his [nJarrow cutting of genre requirements, both tradinonally recognizable and refreshingly new. Although Dedman's Arrow Cutting might be a little heavy handed with its interpretational cues-for example making sure the reader recognizes the final fight as a type of western dual by the prevIOUS scene in an old Western movie set in Death Valley-it IS still a fabulously creative Dook that leaves one or two tdepending on your interpretive ability) good surprises at the end.

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Scjence Fjction Research Assocjatjon The SFRA is the oldest professional organization for the study of science fic tion and fantasy literature and film. Founded in 1970, the SFRA was orga nized to improve classroom teaching; to encourage and assist scholarship; and to evaluate and publicize new books and magazines dealing with fantastic litera ture and film, teaching methods and materials, and allied media perfor mances. Among the membership are people from many countries-students, teachers, professors, librarians, futurolo gists, readers, authors, booksellers, edi tors, publishers, archivists, and scholars in many disciplines. Academic affiliation is not a requirement for membership. Visit the SFRA Website at . For a membership ap plication, contact the SFRA Treasurer or see the website. SFRA Benefits Extrapolation. Four issues per year. The oldest scholarly journal in the field, with critical, hisroricai, and biblio graphical articles, book reviews, let ters, occasional special topic issues, and an annual index. Science-Fiction Studies. Three issues per year. This scholarly journal includes critical, historical, and bibliographi cal articles, review articles, reviews, notes, letters, international coverage, and an annual index. SFRA Annual Directory. One issue per year. Members' names, addresses, phone, e-mail addresses, and special interests. SFRA Review. Six issues per year. This newsletter/journal includes extensive book reviews of both nonfiction and fiction, review articles, listings of new and forthcoming books, and letters. The Review also prints news about SFRA internal affairs, calls for papers, updates on works In progress, and an annual index. SFRA Optional Benefits Foundation. Discounted subscription rate for SFRA members. Three issues per year. British scholarly journal, with critical, historical, and bibliographical articles, reviews, and letters. Add to dues: $30 surface; $36 airmail. The New York Review of Science Fiction. Discounted subscription rate for SFRA members. Twelve issues/er year. Reviews and features. Ad to dues: $25 domestic; $34 domestic first class; $27 domestic institu tional; $28 Canada; $36 overseas. SFRA Listserv. The SFRA Listserv allows users with e-mail accounts to post e-mails to all subscribers of the listserv, round-robin style. It is used by SFRA members to discuss topics and news of interest to the SF community. To sign on to the listserv or to obtain further infor mation, contact the list manager, Len Hatfield, at dhat@ebbs.english.vt.edu> or . He will sub scribe you. An e-mail sent auto matically to new subscribers gives more information about the list. www.s.ra.com President Alan Elms Psychology Department U of California-Davis Davis, CA 95616-8686 SFRA Executive Committee Vice President Secretary Carolyn Wendell English Department Monroe Community College Rochester, NY 14623 Adam Frisch 2308 Summit Street Sioux City, 1A 511 04-121 0 Treasurer Michael M. Levy Department of English University of Wisconsin-Stout Menomonie, WI 54751 Immediate Past President Joan Gordon 1 Tulip Lane Commack, NY 11725 PRESORTED STANDARD U.S. POSTAGE PAID TEMPE, ARIZONA PERMIT NO. 45 Craig] acobsen 208 East Baseline #311 Tempe,AZ 85283 SFRAReview@aol.com ADDRESS SERVICE REQUESTED


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