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n No. 193 (December, 1991)
1 3 246
Science Fiction Research Association newsletter
[Eugene, Ore. :
b Science Fiction Research Association]
c December, 1991
Place of publication varies.
x History and criticism
History and criticism
Science Fiction Research Association.
t SFRA Review
Thomas D. Clareson Arthur O. Lewis, Jr. Joe De Bolt James Gunn Patricia S. Warrick Donald M. Hassler William H. Hardesty Elizabeth Anne Hull Past Presidents of fi Past Editors of the Newsletter Fred Lerner Beverly Friend Roald Tweet Elizabeth Anne Hull Richard W. Miller Robert A. Collins Pilgrim Award Winners J. O. Bailey Marjorie Hope Nicolson Jul ius Kagarlitski Jack Williamson I. F. Clarke Damon Knight James Gunn Thomas D. Clareson Brian W. Aldiss Darko Suvin Peter Nicholls Sam Moskowitz Neil Barron H. Bruce Franklin Everett Bleiler Samuel R. Delany George Slusser Gary K. Wolfe Joanna Russ Ursula K. Le Guin Marshall Tymn Pierre Versins Veronica Hollinger H. Bruce Franklin Pioneer Award (1970-76) (1977-78) (1979-80) (1981-82) (1983-84) (1985-86) (1987-89) (1989-90) (1971-74) (1974-78) (1978-81) (1981-84) (1984-87) (1987-89) (1970) (1971 ) (1972) (1973) (1974) (1975) (1976) (1977) (1978) (1979) (1980) (1981) (1982) (1983) (1984) (1985) (1986) (1987) (1988) (1989) (1990) (1991) (1990) (1991)
The SFRA Newsletter Published ten times a year for the Science Fiction Research Association by Alan Newcomer, Hypatia Press, Eugene, Oregon. Copyright 1991 by the SFRA. Editorial correspondence: Betsy Harfst, Editor, SFRA Newsletter, 2357 E. Calypso, Mesa, AZ 85204. Send changes of address and/or inquiries concerning subscriptions to the Treasurer, listed below. Note to Publishers: Please send fiction books for review to: Robert Collins, Dept. of English, Florida Atlantic University, Boca Raton, FL 33431-7588. Send non-fiction books for review to Neil Barron, 1149 Lime Place, Vista, CA 92083. Juvenile-Young Adult books for review to Muriel Becker, 60 Crane Street, Caldwell, NJ 07006. SFRA EXECUTIVE COMMITTEE President Peter Lowentrout, Dept. of Religious Studies California State University, Long Beach, CA 90840 Vice-President Muriel Becker, Montclair State College Upper Montclair, NJ 07043 Secretary David G. Mead, English Department Corpus Christi State University, Corpus Christi, Texas 78412 Treasurer Edra Bogle Department of English University of North Texas, Denton, TX 76203-3827 Immediate Past President Elizabeth Anne Hull, Liberal Arts Division William Rainey Harper College, Palatine, Illinois 60067
SFRA Newsletter #193 December 1991 In This Issue: President's Message (lowentrout) ............................................................. 4 Conference Update (lehman) ................................................................... 5 The Shape of Films to Come (Krulik) ......................................................... 6 News & Information (Barron, et al) .......................................................... 8 Letters to the Editor ................................................................................. 1 3 Editorial (Harfst) ..................................................................................... 1 3 REVIEWS: Non-Fiction Benton, Illustrated History of Horror Comics. (Stevens) .......................... 15 Burgess, Work of Dean Ing: Annotated Bibliography and Guide.(T aormina) ............ 1 6 Cott, Wandering Ghost: The Odyssey of Lafacadio Heam. (lowentrout) ............ 1 6 Davis, Lives and Times of Ebenezer Scrooge. (Collings) .......................... 17 Dick, In Pursuit of Valis: Selections from the Exegesis. (latham) ............. 18 Gifford, American Comic Strip Collections, 1884-1939. (Albert) ............ 20 Harwell, Ranges of Romanticism: Five for Ten Studies. (Heller) .............. 21 Hoffmann & Bailey., Arts & Entertainment Fads. (Barron) ....................... 23 Joshi, et ai, eds., Necrofile: The Review of Horror Fidion. (Barron) ............. 24 Klink
SFRA Newsletter, 193, December 1991 3 Fiction: Aickman, Unsettled Dust, The. (Morgan, C) .......................................... .42 Allen, Ring of Charon, The. (Stevens) ..................................................... .42 Barrett, ed., Digital Dreams. (Morgan, C) .............................................. .43 Bishop, ed., Nebula Awatds 24:SFWA's Choices, Best SF & F, 1988. (Bartter) .......... 44 Coyne, Child of Shadows. (Dudley) ........................................................ 45 de Lint, Little Country, The. (Strain) ....................................................... .46 Desjarlais, Throne of Tara, The. (Martin) ............................................... .47 Gay, Mindsail. (Morgan, C) ..................................................................... 48 Kelly, Heroines. (Levy) ............................................................................ 48 Koontz, Bad Place, The. (Collings) .......................................................... 50 Larsen, Bronze Mirror. (Strain) ................................................................ 51 Levi, Sixth Day and Other Tales, The. (Stableford) .................................. 52 Lynn, Tales from a Vanished Country. (Levy) .......................................... 54 Miller, Slice. (Collings) ............................................................................ 55 McCaffrey, All the Weyrs of Perno (Hellekson) ........................................ 56 McCaffery, All the Weyrs of Perno (Strain) ............................................... 57 Morrow, Swatting at the Cosmos. (Levy) ................................................. 58 Niven. Playgrounds of the Mind. (Hellekson) ......................................... 59 Nye. Mythology 101. (Bartter) ................................................................. 60 Ore, Illegal Rebirth of Billy the Kid, The. (Levy) ...................................... 60 Priest, Quiet Woman, The. (Morgan, C) .................................................. 62 Rawn, Stronghold. (Wells) ....................................................................... 62 Steele, Clarke County, Space. (Stevens) .................................................. 64 Straub, Houses Without Doors. (Collings) ............................................... 64 Swearer, et al. Beowulf: A Likeness. (Kratz) ............................................ 65 Thomas, Animal Wife, The. (Tryforos) .................................................... 66 Annual Index: Author Index ........................................................................................... 67 Title Index ............................................................................................... 81
4 SFRA Newsletter, 193, December 1991 President's Message: Great Vog Goes to the Mountain Jim MacDonald, AKA Yog Sysop, and his daughter Katzie have just re turned to New Hampshire after spending a couple of weeks with us out here in California. Jim was out in the area to attend the World Fantasy Conference in Tucson, World Fantasy being a working con for writers and editors, and Jim being a working writer, as well as the Science Fiction Roundtable System Operator for GEnie. While they were here, we got the two of them over to Disneyland. It rained (despite our six year drought), the place was packed (despite the rain), and we did not manage to do as much there as we would have liked. Still, we did take in Space Mountain and Star Tours, the latter giving one the astonishingly real sensation of being in an X-wing fighter making a desperate run on the Empire's Death Star. A few years ago, Sherwood and I organized a meeting of the Mythopoeic Society in nearby long Beach. For the conference, we flew in from some distance away a scholar who was an award-winning young adult fantasy writer. As a courtesy, I offered to arrange for this professor a quick visit to NOh," she said in a definite and slightly arch voice, "I wouldn't be interested in that." No? Why not? Surprise and politeness kept me from asking then. But I have not forgotten this exchange (though I do forget most things) and somehow it has seemed to me important and perhaps even para digmatic. Why not Disneyland? This scholar's response continues to trouble me, I suspect, because I see too much of myself in it, and it gives me an occasional shiver to think that this frosting of the heart might be an occupational hazard for us academics. (The scholar in question here has never been a member of the SFRA or the IAFA, nor has she been in attendance at the meetings of either organization.) I have appointed the 1992 Pilgrim Award Committee. Committee mem bers are Martha A. Bartter, Donald M. Hassler, and Arthur O. lewis. Art lewis continues on the Committee from last year and will act as convening chair. I have forwarded one nomination to them from Peter Nicholls, and I hope that you will all give the Committee your recommendations and assis tance. Dues reminders will be coming your way soon. Keep an eye peeled for them that letter with the Corpus Christi postmark is from Dave Mead and it is not junk mail! And remember, while dues have gone up a bit this coming year, SFRA's costlbenefit ratio is still far the best in our field.
SFRA Newsletter, 193, December 1991 5 The holiday season will soon be upon us, and I wish you all a happy and bountiful one. For some of our members, though, just staying warm and fed through the holidays will be very difficult. As I send this presidential mes sage off to Betsy Harfst, I will also be mailing packages of food, SF and other daily necessities to the members of our SFRA family in the former East Bloc and Soviet Union (past members, too, as most have been too strapped to renew their memberships). I hope you will all do the same. Peter Lowentrout Twenty-Third Annual SFRA Conference Preparations for the annual Conference on June 18-21 at John Abbott College, Montreal are moving along well. The Conference theme is-The Alien Within. It invites the analogy be. tween outer and inner space which until actual first contact would seem to be the real focus of our fascination with BEMs. Plus, it expresses almost everyone's sense of minority status with respect to some outside mass. For example, I am an American expatriate within an English speaking minority, which exists within a French minority, existing within a North American English minority, within a world in which for some silly reason most people still do not speak American or precisely reflect its culture. I hope this defi nition of a theme will serve to invite (inspire?) participation without in any way limiting what people feel free to bring to SFRA #323. The official Call for Papers will be out hopefully before the end of No vember with the registration form on the back. I'm planning to hold the line with respect to the cost to attendees for registration while accommodations at the residence, here, will be extremely reasonable. Precise details on that for next month. Send proposals, suggestions, offers to be panel chairs to me at home or to the college: Steven Lehman, 4319 Esplanade Street (2), Montreal, PQ H2W 1 T1 Canada; or Box 2000, Ste. Anne de Bellevue, Quebec, Canada H9X3L9. Steven Lehman Conference Director [See David Ketterer's call for papers on uCanadian Science Fiction" which appears in the News and Information pages of this issue. BH, ed.J
6 SFRA Newsletter, 193, December 1991 The Shape of Films to Come: HRequiem for Gene Roddenberry" October, 1991-The Great Bird of the Galaxy has flown away, to some undiscovered country. We shall not see his like again. I grew up with "Star Trek," or rather, I grew into what I have become with "Star Trek." When the weekly TV series began in September of 1966, I had just entered undergraduate school. I became a faithful viewer, but I was never a "Trekkie" in that I didn't write fan letters or participate actively in any clubs. However, the series helped to open up to the public the idea that science fiction was about PEOPLE, and it could be worthwhile. I discovered I could talk about my interest in SF more freely, without being frowned upon as wasting my time reading and watching "garbage." At one of the first Star Trek conventions, held in Manhattan in the early Sev_;'1ties, I met and spoke briefly to George Takei, Sulu of the TV series. Speaking candidly, Takei said that he thought it very unlikely that they would ever bring the series back. The sets had been struck, the stage props were all gone. The fans would just have to be content with the current animated series on television and the "Star Trek" books. Although the Paramount theatrical films of "Star Trek" were of inconsis tent quality (UTrek IV" was much better than "Trek V"), the "Star Trek: the Next Generation" television series has improved so greatly over the past three years that its light will certainly remain bright for a few seasons yet. This year's celebration of "Star Trek's" twenty-fifth year as a media phenomenon has received much interest, and it is not quite over. In November, "Star Trek: The Next Generation" will have Leonard Nimoy appear as an aged Spock in one episode. When the Paramount pic ture "Star Trek: The Undiscovered Country" comes to theaters in December, a Klingon relative of Worf, "Next Generation's" Chief of Security, will ap pear, played by actor Michael Dorn. There have been rumors that the origi nal"Star Trek" cast will no longer do feature films, but that the current TV crew will begin to make features, leaving the new series open for a possible new cast. Thus, we have a media crossover that completes the cycle, and the "Star Trek" universe has succeeded in pervading virtually every area of our popular culture. The phenomenon is so pervasive, in fact, that it would be hard to imag ine our media-influenced lives without the catch-words and phrases that come directly from the old TV series. Much fun is made of some of them: "Live long and prosper" is often spoken in jest. Still, people of every age seem impressed when someone has the ability to hold his fingers up in the Vulcan greeting, middle fingers apart.
SFRA Newsletter, 193, December 1991 7 Gene Roddenberry was able to sell the "sci-fi" concept he had in mind to the network executives by calling it a "Wagon Train to the stars" series. After the pilot was made, a one hour episode called "The Cage," starring Jeffrey Hunter as Captain Christopher Pike, the network rejected it as being too cerebral. They accepted a second pilot, but with a changed cast. They didn't want a female as second in command, so Majel Barrett, wife of producer Roddenberry, was relegated from "No.1" to Nurse Chapel for the remainder of the original series. Hers is the voice of the computer on board the Enterprise as well. The network people were also unhappy with the pointy-eared alien. They wanted him out. Roddenberry's determination and persuasiveness were the only factors that allowed the retention of the character named Spock. Intrigued as I have been with the "Next Generation" TV series, I used the phrase "Away Task" in my science fiction class, modeled on the Away Teams that are transported to planets. In my class, the Away Task represented homework assignments. At present, I have inaugurated a new system of calendar dating in all of my English classes, modeled upon the "Stardate" numbers of both series. For the date of Monday, November 4, 1991, for instance, we write the date as: 911104.2. This semester, I have been "future-watching" in my classes. An early project had been to create calendars for the year 2091 A.D., referring to the perpetual calendar reproduced in any good set of encyclopedias. I had my students write journals speculating on various aspects of life in the Twentyfirst Century. Many of my students described a bleak, depressing world full of crime, pollution, and disease. There were obvious borrowings from the "Robocop" and "Terminator" films in my students' writings. But they also see some of these same things on the streets of Brooklyn almost every day. They really don't see the world improving much in the next century, in spite of all our technological advances. For many, the future is as miserable as the present. Gene Roddenberry died on Thursday, October 24, 1991; Earthdate 911024.5. Thank God there was a Gene Roddenberry for a brief span, who left a legacy of optimism. As teachers, we had better make the attempt to prepare our students for a bright future, for the need for a cooperative effort to make technology work hand-in-hand with social reform. If we don't in still some of Roddenberry's hope for the future in the youth of today, a "Robocop"-like future might become a reality. The future begins with what we do right now ... Theodore Krulik
8 SFRA Newsletter, 193, December 1991 News & Information: CON-SUR or SF in the Latin American Way Buenos Aires was the place, and the week was Sept. 23 to 27. What had started as a regional event ended up as an international success, since Bra zil, Mexico, Uruguay and Venezuela could make it to Con-Sur I, organized by the Argentine Circle of SF and Fantasy (CACYF). The program included more than 50 different activities, the most out standing of which were the presentations of the national panoramas of the different countries (including the one of Brazil by internationally known SF author Andre Carneiro), followed by round tables on the future of this genre in the region, seen through the eyes of the writers, editors, and critics of at tending countries. Furthermore, a special homage was made to Hector German Oesterheld, the Argentinian SF writer, creator of the ETERNAUTA, by means of a special series of conferences and round tables taking place during the whole week. One special highlight of CON-SUR I was the closing session, where the MAS ALLA award was granted to published and unpublished fiction and non fiction, as well as a special award given to Adolfo Bioy Casares, internation ally known Argentinian writer who, among others, has written SF works. A special surprise came in the form of the presentation of Eduardo Carletti's AXXON, a free monthly SF magazine on diskette, consisting of 200 to 500 pages per issue, with a masterful set of drawings, all designed by Rodolfo Contino The idea of conventions on an annual basis was suggested and accepted, thus giving new impulse to SF in Latin America. Ingrid Kreksch Call for Papers Twenty-Third Annual SFRA Conference One of the sessions at the 1991 SFRA Annual Conference (John Abbott College, Montreal, 18-21 June, 1992) will be on "Canadian Science Fiction." Please send proposed papers for this session to David Ketterer, Department of English, Concordia University, 1455 de Maisonneuve Blvd. W., Montreal, Quebec, Canada H3G 1 M8. David Ketterer Life, the Universe and Everything X The 1992 Symposium on Science Fiction & Fantasy will be held on 58 February 1992, Brigham Young University, Provo, Utah. Abstracts are
SFRA Newsletter, 793, December 7997 9 currently being accepted for 20and 45-minute papers dealing with science fiction and fantasy literature; future technology and the space program; the creation of fictional worlds and cultures; future shock and the impact of science on modern society; and other topics of interest to a science fiction and fantasy audience. All abstracts must be received by 1 December 1991. Papers will be due by 7 January 1992. Please send abstracts to: Life, the Universe and Everything X, Dr. Marion K. Smith 3163 JKHB, Brigham Young University, Provo, UT 84602. Marion Smith Society of Utopian Studies Activities Overlooked for my market survey is Utopian Studies, a semi-annual journal that began in 1990, issued by and a membership benefit of the So ciety of Utopian Studies. You may recall the society's earlier journal, Alter native Futures, 1978-1981, edited by Merritt Abrash and Alexandra Aldridge. lyman Tower Sargent, the new editor, Political Science Dept, University of Missouri, St louis, MO 63121-4499 (314-563-5521; fax 314-553-5268), would welcome contributions. Send him four double-spaced copies and follow the current MLA guidelines. You can join the society for $25 (regu lar), $15 (student/unemployed), $50 (sponsor) or $200 (patron); there is no surcharge for institutions or overseas members. Send dues to lawrence Hough, Secretary!freasurer, Political Science Dept, East Carolina University, Greenville, NC 27834. Members also receive a newsletter, Utopus Discov ered, and a member directory. Sargent sent me copies of the 1990 issues (a double issue was published in November 1991). The first issue has a descriptively annotated bibliogra phy of utopian (including dystopian) fidion by u.s. women, 1836-1988,262 titles. Other articles deal with Huxley'S Island and Toni Morrison's Beloved. Issue 2 has several articles on Ernst Bloch. Each issue includes a review essay and book reviews. Sargent also noted that Syracuse University Press now has a series called Utopianism and Communitarianism edited by him and Gregory Claeys of the University of london. He'd welcome proposals for books dealing with uto pian themes, whether or not related to SF. Finally, the 17th annual meeting of the Society will be held in Baltimore, 19-22 November 1992. If you'd like to give a paper or organize a panel, write/call Lise leibacher, Dept of French and Italian, Univ. of Arizona, Tuc son, AZ 85721,602-621-7350/299-8727. Deadline for proposals is 15 June 1992. -NB.
10 SFRA Newsletter, 193, December 1991 New Biographical Directory Announced The third edition of Twentieth-Century Science Fiction Writers was announced for November by St James Press, 233 E. Ontario St, Suite 600, Ch!....JflO 60611, 800-345-0392. Edited by Noelle Watson and Paul Schellinger, this 8 1/2 x II inch, ca. 1000 page volume sells for $115. About 650 writers are profiled in this edition (614 were in the second edition, 1986, edited by Curtis Smith, whose pages totaled about 650 and whose trim size was 7 1/4 x 9 3/4 inches). The book will be reviewed if the publisher sup plies a review copy. -NB. Aldiss-Wingrove History Remaindered It's not just illustrated histories of 17th century Italian glass paperweights that get remaindered. Case in point is the Avon trade paperback reprint of Trillion Year Spree, 1986, still the best single history of the field and a use ful supplemental text in a history of SF. The 25 September issue of remain ders from Edward R. Hamilton, Falls Village, CT 06031-5000, lists this his tory, originally $9.95, at $3.95, plus $3 shipping (for any size order), prepaid orders only, no credit cards. Even if you don't need it for classroom use you should own a copy. Your money will be refunded if his stock is exhausted. -NB. Cost Increase Foundation, the British SF journal, has notified SFRA of a modest cost increase. The yearly price will be $17.00 surface, $20 airmail. -Edra Bogle The Marvel Story Coming at Y A! That's the text in a burst on the back cover of Marvel: Five Fabulous Decades of the World's Greatest Comics, a $45 October book from Harry N. Abrams in typically sumptuous Abrams style. The text is by les Daniels, author of Comix: A History of Comics Books in America (1971). If you're old enough to recall the introduction ofThe Submariner and The Human Torch in 1939, you'll be awash in nostalgia as you page through this 287 page homage to Marvel, vividly illustrated on almost every glossy page. Seven teen of the principal Marvel superheroeslheroines are profiled, from the two mentioned to Spider-Man (embossed on the cloth cover), Dr. Strange, The Incredible Hulk and its parodic twin, She-Hulk. If you get tired of reading, there are 700 color illustrations. Pow! Biff! Buy! -NB
SFRA Newsletter, 193, December 1991 11 Best of World Fantasy Ellen Kushner's Thomas the Rhymer and james Morrow's Only Begot ten Daughter tied for best fantasy novel at the World Fantasy Convention held in Tucson, AZ, October 31-November 3. Other ubest" awards went to: Pat Murphy for her novella Bones; Neil Gaiman and Charles Vess for their short story A Midsummer Night's Dream (Vess illustrated and contributed to the story line); Stephen jones and Ramsey Campbell, eds., of the anthology Best New Horror, and Carol Emshwiller for the collection The Start of the End of It All and Other Stories. Special awards went to: Arnie Fenner, profes sional, designer of Ziesing and Ursus Books; Richard Chizmar,non-pro, for Cemetary Dance; and David McKean won for best artist. Life Achievement award went to Ray Russell. K. Farr Female Heroes & The Fantastic That's the topic of a planned special issue of the Journal of the Fantas tic in the Arts. Essays may be critical or theoretical but should consider the characterization, status, and function of the hero archetype, particularly its female aspects. Submit a 250 word (one page) abstract immediately (nomi nally by 15 November 1991) and the completed paper by 15 january 1992 to Gwendolyn Morgan, English Dept, Montana State Univ, Bozeman, Mon tana 59717-0024, 406-586-3845. [Note: I received the undated v.3, no. 2 issue of JFA in late September. The IAFA has paid the publisher, Orion Pub lishing, liverpool, NY, to print v.3, no. 3 & 4, but the publisher has appar ently gone under, and 1he future of these issues is in doubt. The IAFA had planned to take over direct publication of the JFA with volume 4 and prob ably will do so. The JFA is one of the journals discussed in my market sur vey in the September issue. -NB. Borgo Press Market Update We publish 25 original titles annually (130 proprietary titles have actu ally been published through October 1991), about one-third dealing with SF topics. For The Milford Series, we actually want full-length (not short) critiques, at least 60,000-80,000 words, with a preferred length of 160 typeset pages, including all the usual scholarly apparatus. We prefer books which can be expanded into second etc. editions some years hence. A series format gUide is available from Dr. Dale Salwak, 2415 Sloan Drive, La Verne, CA 91750.
12 SFRA Newsletter, 193, December 1991 The 1.0. Evans Studies Series includes full-length studies, anthologies, and collections on specific literary movements, figures, or topics. We want books ranging in size from 160-256 pages. Proposals should be sent to Mary A. Burgess, The Borgo Press, P.O. Box 2845, San Bernardino, CA 92406. Borgo Bioviews include biographies and autobiographies on specific writers, politicians, and other figures. Proposals should be sent to series editor Dr. Jeffrey M. Elliot, 1419 Barliff Place, Durham, NC 27712. Bibliographies of Modern Authors feature detailed literary guides de voted to one writer. All books must adhere to a very specific series format guide. All books are designed to go through a series of subsequent updated and expanded editions. Note also the Borgo Literary Guides series (gener ally reference works). Series editor: Robert Reginald, P.O. Box 2345, San Bernardino, CA 92406. Brownstone Mystery Guides feature bibliographies, critiques, and other studies relating to mystery fiction in its broadest definition (including horror and gothic literature). Proposals should go to Dr. Dale Salwak, series editor. Essays on Fantastic Literature include shorter studies or collections of essays on science fiction and fantasy, generally ranging in size from 80-128 typeset pages. Series editor: Robert Reginald. A" cited series include some SF topics; only the last is restricted to fan tastic literature. Robert Reginald Current Work in Progress Jaroslav Olsa, new '92 (via SSP) in Czechoslovakia: "Fantastic motifs in the Arabian Nights" Guo Jianzhong, new '92 (via SSP) in China: "A Critical History of Foreign SF" Richard Erlich, Fina"y finishing up work on Le Guin for Starmont. "Dunnlich Literary Enterprises, Unlnc." Finishing up CLOCKWORK SOMETHING OR OTHER (we're still arguing): a list of works useful, copiously annotated, for Greenwood Press (with Thom Dunn). Nancy Steffen-Fluhr: Study of H. G. Wells' marriage novels, 1900-1914; essay on James Tiptree and Charlotte Perkins Gilman. Russell Blackford, new '92 in Australia: History of Australian SF for Greenwood Press.
SFRA Newsletter, 193, December 1991 Diana Pharaoh Francis new '92: My thisis is a fantasy/science fiction novel which I hope to publish following graduation. (Iowa State Univ, Ames) 13 Gordon Van Gelder, Assoc Editor, St. Martin's Press, new '92: various projects at St. Martin's; also The New York Review of Science Fiction. Moises A. Hasson: Index to SF Magazines in Spanish. Letter to Editor: Dear Editor: In the Oct. '91 Newsletter, in my review of Weaver, SF Stars-, the fifth sentence is printed as-"Weaver usually spends only a page or two on each film, although he takes two pages to discuss-". This should be-"although he takes twelve pages to"-. This was correct in the copy I originally sent to Neil Barron [non-fiction editor). I don't think this requires a printed correction, but I thought you should know about the error. Sincerely, Michael Klossner October 12, 1991 [I appreciate your letter calling attention to this error and I do think the issue needs to be corrected in print. I do not know if this was a human or a scanner error. Nevertheless, please accept my sincere apology. BH,ed.) Editorial: Year End Reflections Growing pains is what we seem to have been going through this past year! With the 1990's move to Arizona, we have had to learn how to become independent of college assistance in Newsletter preparation. To some degree, we have replaced humans with extra mechanical equipment-a new 386 computer joined the 286; a laser printer was added to the existing print ers; and a flat-bed OCR scanner moved in with the mechanicals as a heavy duty Girl Friday. Over the course of several of the summer and fall issues, some of your reviews have been victims of some of the problems related to our expansion.
14 SFRA Newsletter, 193, December 1991 The first problem, a human one, relates to the task of learning how to run the new machines and their software. With the complexities of the new pro grams, this efficiency effort has had some unfortunate pitfalls just when ev erything seemed to be running smoothly. A second problem, a machine one, stems sometimes from faulty communication between our machines in Ari zona and those in Oregon (missing hyphens are about solved, but tildes and stars seem to slip through human proofreading; diacritical marks are still unsolved). Regrettably, humans do not always catch the errors before they are printed. Readers and reviewers have been exceptionally generous in their forgiveness for these mistakes; we appreciate the kindness. On to other changes! Our first index appears at the back of this Decem ber issue. Reviews are listed both by author and by work. Beginning with the January/February 1992 issue, the name of the SFRA Newsletter will change to SFRA Review. This title better describes another change, the increased number of reviews being printed monthly. The SFRA Reviewwill also boast a distinctive yearly color for all issues in one year. A graphics change which began in the September 1991 issue, appears in the cover logo for SFRA. The letters are now joined together at the top to give a smooth new design. looking ahead to next year. Be sure to renew your SFRA membership if you I1cwe not done so. Also, send a donation to the Scholars Support Fund while you are thinking about it. Send dues and/or donation to Edra Bogle, 201 Peach St., Denton, TX 76201. Have a Happy Holiday Season! Betsy Harfst
SFRA Newsletter, 193, December 1991 15 Non-Fiction Horror Comics Revisited Benton, Mike. The Illustrated History of Horror Comics. Taylor Publishing Co., 1550 W. Mockingbird Lane, Dallas TX 75735, June 1991. 144 p. $21.95.0-87833-734-2. This is the first title in a new series on the history of comics, to be fol lowed this fall by a volume devoted to super heroes of the silver age. Ac cording to Benton, the horror comic's antecedents were the pulp magazines and the radio and horror shows of the '30s and '40s. Comic books began to publish an occasional horror story, but the first comic devoted exclusively to horror was, surprisingly, Classic Comics when it departed from the typi cal classic to devote an issue to Dr. Jekyll and Mr Hyde. The book presents an excellent historical narrative of the horror genre, profusely illustrated with covers and story pages-all typically gruesome. This book is NOT for the squeamish, nor for readers who are not horror f'ins. However, historians and collectors will find it interesting, even if they are not interested in horror itself. A major portion of the book is devoted to the uproar started in the late '40s by Dr. Fredric Wertham's attacks on comic books. His 1954 book, The Seduction of the Innocent, started a nation-wide campaign against comics in general, which culminated in a hearing before a Senate Committee on Juvenile Delinquency. The result was a "Comics Code" formulated by the publishers to provide standards for wholesomeness and decency. Although Benton is understandably biased, he is impartial enough to admit to problems on both sides. This discussion of the controversy is one of the most complete which has been published to date, and includes the complete text of the Comics Code. The book also contains articles on collecting comics, and a checklist of the major horror comics published in the last fifty years. As a reference book, it is remarkably complete. As a history of a minor subculture from the past, it's entertaining. As an introduction to a complete history of comic books, it's an excellent starting place. If future volumes in the series maintain this quality, the series should be a success. w. D. Stevens
16 SFRA Newsletter, 193, December 1991 An Unnecessary Compilation Burgess, Scott Alan. The Work of Dean Ing: An Annotated Bibliography and Guide. San Bernardino, CA: Borgo Press, December 1990. 82 p. $19.95. 089370-395-8; $9.95 pb. 495-4. This slim volume begins with a clumsily written interview with Dean lng, best known as an author of technologically oriented science fiction and much nonfiction on surviving a nuclear holocaust. The meat of the book is a comprehensive annotated bibliography of lng's work, both fiction and nonfiction, with secondary sources, reviews, and reprints. Material is listed within its genre by publication date and indexed by title. Also included are a chronology of the author's life, excerpts from articles about Ing and from reviews of his work, lists of lng's awards and media appearances, and finally a short, rambling essay in which Ing himself accounts for the personal biases that inform his work. Small flaws abound in the bibliography itself. Reviews lack authors; entries contain dashes where information should be. Some secondary sources are unhelpfully listed by periodical title only (e.g., Chi cago Sun Times) without even a date. Some nonfiction is described as "survivalism" or Nhistory"; other entries are simply labeled "article." Ing is a competent and prolific but minor author. It is hard to believe this book fills a need in the academic community. Not recommended for any but the most comprehensive library. Agatha Taormina Biography of a Wanderer Cott, Jonathon. Wandering Ghost: The Odyssey of Lafacadio Hearn. NY: Alfred A. Knopf, 1991. x + 438 p. $24.95. 0-394-57152-5. This biography is as difficult to put down as an excellent novel. Avoid ing reductionist psychologizing and all-embracing etiological theorizing, Cott's presentation of the sometimes controversial Hearn nevertheless man ages to penetrate deeply into the character and life of its subject. And Colt's carefully researched book is all the better for being part anthology: Hearn was more than just the essayist on Japan for which he is generally remem bered. He was a journalist of note whose feature articles read today like the most fascinating social history. He was a novelist translator, a folklorist, a noted explicator of Japanese Buddhism, a professor of English Literature at Tokyo Imperial University, and one of the great letter writers of his day. Cott's judicious inclusion in his book of a wide range of Hearn's writing, including ghost stories and even exact transcriptions made by his students of Hearn's university lectures, works wonderfully to bring Lafcadio Hearn
SFRA Newsletter, 193, December 1991 17 alive in its pages. Too, Con's prose style in the book has taken on something of Hearn's own, and this works well to meld the biographical portions of the book and the anthologized material. For most of his life, Hearn was a wanderer. A Greek-Anglo-Irish child born in 1850 on the island of leucadia, he was abandoned by his parents in Ireland by the age of five. Partly blinded at sixteen, he felt like a social misfit for most of his life. Hearn rejeded in adolescence the Roman Catholi cism with which he had been raised, believing ardently in the Greek gods. In his late teens, he found himself destitute, homeless and sleeping in the streets and alleyways of london-not the last time he would live so. leaving England for America, he became one of the best known journalists in Cincinnati, and then in New Orleans. While in the cities, writing often of the exotic and the oppressed, Hearn sympathetically chronicled the lives of African-Americans, Creoles and the practitioners of Voudoo. living for a time in the Caribbean, Hearn settled finally in Japan, where he married a Japanese woman possessed of a quiet wisdom and became a Japanese citi zen and patriot. At the end of his book, Colt critically examines past Hearn scholarship and includes a chapter by chapter consideration of his sources as well as a chronological bibliography of Hearn's writings. Wandering Ghost: The Odyssey of Lafcadio Hearn is insightful, always interesting and at times even moving. I recommend it most highly. Pete Lowentrout Varieties of Scrooge Davis, Paul. The Lives and Times of Ebenezer Scrooge. New Haven, CT: Yale University Press, 1990. 284 p. $29.95.0-300-04664-2. Davis begins this encyclopedic overview of adaptations of Dickens's Christmas Carol by differentiating between the Carol (i.e., the text as composed by Dickens for publication on December 19, 1843), and the Carol, the "culture-text" that has been rewritten, revised, and re-formulated countless times in the century and a half since its appearance. Davis performs an admirable task in outlining the vicissitudes of what he calls the most fre quently adapted text in English literature. He cites Philip Bolton to the ef fect that by 1950, "at least seventy-five [dramatic) produdions had occurred. Indeed this is a goodly number. But since 1950, there have been well over two hundred twenty-five (225) additional live stagings, filmings, radio dra mas, as well as TV plays"; neither Bolton nor David offer numbers for print versions, but Davis's "Chronological list of Some Noteworthy Versions of the Carol" suggests that the number is far higher than most readers would expect.
18 SFRA Newsletter, 193, December 1991 Nor is Davis satisfied with mere enumeration. He traces the varying interpretations of the Carol as it is altered, amplified, revised, and re-made by subsequent cultures: English and American, nineteenth-century and twen tieth, adult and child. He highlights especially useful examples in print, stage, radio, and film, providing extensive readings of key versions (includ ing Frank Capra's /t's a Wonderful Life and the 'deconstructive' version, Scrooged [1988)). He meticulously re-creates the transformation of the Carol from Victorian Christian allegory, to twentieth-century children's fable, to 1980s allegory of an "unreformed Scrooge [as) an economic hero." Along the way, we are introduced to an almost bewildering array of Carols: the Carol as fairy tale, fantasy, religious allegory, symbol, myth; and the Carol as interpreted from economic, social, theological, historical, psychological, aesthetic, socialist, radical, Freudian, new historical, New Age, and feminist perspectives. There are even several pages devoted to the Carol as icon for the 1980s political cartoons and to the Disney Carol, with an aside comparing Dickens and Disney in their attitudes toward their own times and their artistic contributions to those times. Davis deftly moves from one Carol to another, articulating their various themes as expressed through additions, deletions, lightening or increasing of certain roles and episodes, and transformations of characters to meet the needs of the cultural context eliciting that particular variant. He illustrates many of the alterations with reproductions of illustrations, stills from film versions, and adjunct graphics that shed light on the process by which this "culture-text" is written and re-written for each new generation. The Carol, he argues, reversed the usual direction of myth from orally transmitted story to written artifact; almost as soon as Dickens committed it to paper, the process of transformation began, as each succeeding generation came to know the Carol through childhood memories of verbal Carols. With its supporting illustrations, its impressive listing of variants, and its index, The Lives and Times of Ebenezer Scrooge is enlightening, at times delightful, always a source of new interpretations and understanding for this small but valuable touchstone. Michael R. Collings A Gnostic Magus? Dick, Philip K. In Pursuit of Valis: Selections from the Exegesis, ed. Lawrence Sutin. Lancaster, Pa: Underwood-Miller, October 1991, $39.95. 0-88733091-6; $14.95 pb. -093-2. xxxix + 276 p. Lawrence Sutin is the author of Divine Invasions: A Life of Philip K. Dick (Harmony/Crown, 1989), an exemplary biography (see my review in News-
SFRA Newsletter, 193, December 1991 19 letter 188) of perhaps the greatest American SF writer. In that fine tome, we learned of the existence of a massive manuscript-approximately 8000 long hand pages-penned by Dick between 1974 and 1981. Called the Exegesis, it is a scrambled series of journal-style entries of varying lengths, all at tempting to come to terms with what Dick referred to simply as "2-3-74" i.e., an overpowering series of dreams and visions vouchsafed to him in February and March of that year. Now, Sutin has sifted this vast mountain of soul-searching meditations into the modest pile of fragments gathered here. In Divine Invasions, Sutin described Dick's mystical experiences as "re sembling nothing so much as a wayward cosmic plot from a Phil Dick novel," and, in fact, Dick worked much of the substance of the visions into the so-called Valis trilogy (Valis [1981 J, The Divine Invasion (1981), and The Transmigration of Timothy Archer (1982)). To give the metaphysical plot summary: what happened in 2-3-74 was that, by an act of anamnesis (stimu lated by mystical contact with" Valis"), Dick saw through the heimarmene of the "Black Iron Prison" of our world into the Macrometasomacosmos, the "morphological realm" of the Platonic eidos, in the process revealing him self to be a"homoplasmate," an incarnation of the Gnostic logos subsisting in "orthogonal time" (I shall not attempt to translate this complex mash of Greek, Latin and Phildickian terminology, instead referring the curious reader to the helpful glossary of "Selected Significant Terms" at the back of the book, as well as to Sutin's excellent discussion in Chapter 10 of Divine Invasions). More pragmatic, or perhaps cynical, interpreters might infer, rather, that Dick, suffering from schizophrenia and suicidal depression, and stimulated by various drugs (lithium, codeine, megavitamins, and probably other controlled substances), allowed his erudite and fertile imagination to lead him to the brink of madness. Personally, I find neither explanation very convincing and am content instead with the perhaps evasive verdict that, whatever their cause and import, Dick's visions permitted a sublimely sen sitive, profoundly intelligent, questing spirit to produce the Valis trilogy, surely one of the greatest works of imaginative literature ever written by an American. In Pursuit of Valis can be read in several ways: as an expository prop to Dick's later fiction, as the tortuous searchings of a mangled soul, as a pal impsest of learned disquisitions on complicated philosophical problems, as a contemporary recasting of Gnostic theology, as a revelation of truth. Underwood-Miller's schizophrenic assembly and promotion of the volume allow for any and all of these interpretations: Sutin's sober and scholarly preface identifies the Exegesis as "part philosophical analysis, part personal diary, part work-in-progress notebook for the final novels;" Gnosis magazine
20 SFRA Newsletter, 193, December 1991 editor Jay Kinney's intelligently analytical introduction calls it a mix of "grand metaphysical speculation and over the top SF wackiness," the Gnostic scrolls rendered as a kind of space opera; and New Age guru Terrence McKenna's reverential (and shamelessly self-promoting) afterword celebrates it as an emanation of godhood (U-M seems keen to hype the New Age angle, judging by the promotional literature accompanying my proof copy). Personally, I question whether it should have been published at all, given its often em barrassing rambling and its autodidactic fanaticism, but considering the goldmine Dick's unpublished manuscripts have proven to small press pub lishers in the decade since his death, I suppose such gentle oblivion was too naive to hope for. Students and critics of Dick's work, as well as of religious themes in modern SF, will probably want to acquire this book. All others should read again the misadventures of Horselover Fat, and peruse Sutin's superlative biography, and marvel at how Gnostic magus Dick managed to turn the base metal of a tortured life into artistic gold. Rob Latham Early Comic Strips Gifford, Denis. American Comic Strip Collections, 1884-1939: The Evolu tionary Era. Boston: G. K. Hall, 1990. xvi+218 p. $50.0-8161-7270-6. Denis Gifford is a British specialist who has published a number of co piously illustrated books on graphic arts and film and scholarly catalogues of British and American films. American Comic Strip Collections, 1884-1939 (published in England by Mansell as The American Comic Book Catalogue: The Evolutionary Era, 1884-1939) is clearly targeted for the library and schol arly market, but it is also potentially of great interest for the collector and fan. Gifford has compiled a chronological list of collections of American daily and Sunday comic strips, in various formats, ending with 1939, the year in which he sees the comic book established "as an ongoing format in its own right." The evolution to which he alludes is the gradual emergence of the sixty-eight-page comic book format as the dominant format for the pub lication both of reprints of newspaper daily and Sunday strips and, finally, of original works created expressly for the new medium. Purists will take issue with some of Gifford's formulations. Although the history of the American newspaper comic strip is generally considered to have begun with Outcault's Yellow Kid, first published in an embryonic form in the New York World in 1895, Gifford cites A. B. Frost's Stuff and Nonsense (Scribner's, 1884), comic strips and cartoons that Frost originally drew for Harper's Monthly, as the first collection of comic strips. The first compi-
SFRA Newsletter, 193, December 1991 21 lation-item no. 3 in Gifford's catalogue-of Yellow Kid strips was published in 1897, and for the next thirty-two years, the market was dominated by publication in hardback and stiff cardboard covers of the popular strips of the day. While most comic historians have cited Famous Funnies, sold on the newsstands as a monthly title in the spring of 1934, as the first "four-color, modern format comic book to be offered regularly for sale" (Goulart, The Encyclopedia of American Comics, 1990), Gifford cites instead the news stand appearance of The Funnies in January 1929. The point at issue is, of course, the format (pages and size), and it is indeed Famous Funnies that conforms to the format of the "classic" comic book. Gifford also includes Big Little Books, premium giveaways, and, in fact, any collection in any format of comics previously published in daily or Sunday strips. Each entry includes a bibliographic notation of date of publication, for mat, publisher and artist, followed by a description of the contents. Since Gifford is proposing a number of redefinitions of the evolution of the pub lication of comic strips, a chronology of important dates would have added significantly to the accessibility of the information. There is no bibliography, and Gifford only acknowledges the assistance of a comics curator and two American collectors. Some gaps in information (vague descriptions of format or contents) suggest that some information was obtained second-hand. The catalogue is of greatest usefulness for its recording of the reprinting of American newspaper strips in the first quarter of this century, and for the information on the ephemeral comic premium giveaways of the 1930s. At $50, it is probably going to find a restricted audience among the collectors who might otherwise purchase it as a guide to collecting. The information, however, will surely be plundered by the compilers of collector's guides, and Gifford's research will undoubtedly reach a wider audience than he or the publisher might have imagined. Walter Albert Abstract Study of Romanticism Harwell, Thomas Meade. Ranges of Romanticism: Five for Ten Studies. Longwood Academic, Box 757, Wakefield, NH 03872, June 1991. xiii + 204 p. $35. 0-89341-604-5. Thomas Meade Harwell attends in ten essays to five ranges of Roman ticism: Nature, Poet, Hero, Gothic, and Folklore. Under Nature, he discusses the Romantics' contribution to the West's developing definitions of nature and, then, Keats' view of nature. Under Poet, he discusses the Victorian view of Keats, Keats and Wordsworth as empiricists, and literary critic, Donald
22 SFRA Newsletter, 193, December 1991 Hayden. Under Hero, Harwell discusses Napoleon as a noble outlaw. Under Folklore appears a study of a South Texas healer as a manifestation of romanticism, "New Light on Pedro Jaramillo." Most interesting for students of fantasy are Harwell's three essays on the Gothic. In the first, "Toward a Gothic Metaphysics: Parts," he attempts an Aristotelian definition of the English Gothic, separating and defining nine parts. Six of these are essential: horror, suspense, shock, sublimity, suffering, despair. Three more are important and usually present in some degree: spec tacle, characterization, and excess. The brevity of Harwell's treatment leaves open many questions about the natures of these parts. Some of these questions are taken up in "Toward a Gothic Metaphysics: Postscripts," in which he first elucidates a distinction between terror and horror. He defines terror as the usual effect of the "explained Gothic" of Ann Radcliffe, which is closer to tragedy, tending to evoke pity for beleaguered characters. Horror is the typical effect of the supernatural Gothic. Harwell finds horror the more satisfying effect. He goes on in this essay to elaborate his discussion of spectacle, the supernatural, Gothic functions, and the sub lime. Harwell argues that the functions of the Gothic are to please, instruct, persuade, and depress, but not to create beauty. This is one of several parts of Harwell's argument that tries a reader's patience. While it is possible to make sense of his position, it is difficult to tell whether the sense one makes is the sense Harwell intends. He says, "a felt terror or horror represents the ultimate Gothic pleasure," without blinking at the paradox. He says that the best Gothic fiction persuades the reader of something, such as "the wages of deception and lust." On these points, one pines for the clarity and copi ousness of Noel Carroll's fine study, The Philosophy of Horror (New York: Routledge, 1990). Harwell's extended review, Maurice Levy's "Structures Profondes" in the Gothic Novel (reviewed in Newsletter 187), is the third essay on the Gothic. This "full exposition of a major French study" presents Levy's main concepts and conclusions. Levy locates the origins of the English Gothic impulse in the English Revolution of 1688 and the subsequent Enlightenment in philoso phy and science. This is his approach along a "horizontal axis." On a verti cal axis that concerns meaning, he sees the English Gothic novel as a dream that replaces religion and that, when explored in Freudian and Jungian terms, reveals "hidden signs and portents of a collective neurosis, a disturbed sen sibility, and even of deep conflicts in the English psyche." Levy explores Gothic plot and landscape to discover a drama involving conflicting images
SFRA Newsletter, 193, December 1991 23 of the mother, evil images of the father, and images of the self imprisoned or lost in the labyrinth, emphasizing a fall into the inescapable, with no possibility of ascent. To Levy this reveals the Gothic as "the damaged myth form of an archetype related to Ulysses' wanderings, the Quest of the Holy Grail, and the roman policier of criminal versus detective." Much of Harwell's Ranges of Romanticism is written at a level of abstrac tion that will leave most readers gasping. It is on the whole very much a book for mature specialists in English and continental Romanticism. Terry Heller Piecemeal Social History Hoffmann, Frank W. & William G. Bailey. Arts & Entertainment Fads. NY: Harrington Press/Haworth Press, 1990. xviii + 379 p. $29.95.0-86656-881-6; $16.95 pb. 0-918393-72-8. This is the first in a proposed series on American fads (others are Mind Society Fads and Sports and Recreation Fads, both 1991), all compiled by two librarians and aimed at the library market although the trade paperbacks are given full bookstore discounts. Of the 122 topics in this initial volume, 14 more or less fall with our scope: Batman, Big Little Books, James Bond, dime novels, Fantasia, Gertie, the Trained Dinosaur, Freddie Krueger, monster movies, Rocky Horror Picture Show, silly TV superheroes, stereoscopy: 3D, Stratemeyer Syndicate, Superman and Tolkien, admittedly a weird mix. The chronological range is from America's colonial period ("Yankee Doodle Dandy") to Ayotallah songs in 1978/79 to Ninja movies in the 1980s. Fads, by definition, are short-lived enthusiasms, and there are a great many chronicled here-anyone for disco, Elvis is alive, Howdy Doody, Peter Max, minstrel shows, "Laugh-In," or Allan Sherman? The entries range from one to several pages in length and are competently written but not very analyti cal. Bibliographies accompany each entry, and there are 20 somewhat muddy illustrations that could have been omitted with no loss. I suspect many other fads might have been included, such as (off the top of my head) goldfish swallowing, marathon dancing, Lindbergh and hula hoops. You could probably think of another dozen or two. This lightweight compilation, and probably its companions, should be considered by larger libraries with a strong interest in popular culture. Readers of this newsletter may safely ignore. Neil Barron
24 SFRA Newsletter, 193, December 7997 Two for Grue Joshi, S.T., Stefan Dziemianowicz & Michael A. Morrison, eds. Necrofile: The Review of Horror Fiction. Quarterly. Issue 1, Summer 1991. Necronomicon Press, 101 Lockwood St, West Warwick, RI 02893. Annual subscriptions payable in U.S. dollars: U.s. (sent 1 st class), $10; Canada, $12: overseas, $1 5 (both sent air mail). Sample, $4. Crawford, Gary William, ed. The Horror Fiction Newsletter. Bimonthly. Is sue 1, July 1989; issue 22, July 1991. 4998 Perkins Rd, Baton Rouge, LA 70808-3043. $5/Year. Sample, $1. Joshi, who apparently didn't feel he had enough on his plate editing Lovecraft Studies and Studies in Weird Fiction (both Necronomicon Press), plus a full-time editorial position with Chelsea House, has joined with SFRA members/reviewers Dziemianowicz and Morrison to edit a much needed quarterly survey of contemporary horror literature, primary and secondary. Developed from the review pages of Studies in Weird Fiction, it is intended to provide Hextended discussion of contemporary horror literature, one that views the vast ocean of horror fiction and nonfiction discriminately but not narrowly," to quote the initial editorial. Given the low level of most horror fiction, I'm inclined to view it as a half vast ocean, but let it go. I hope the size of Necrofile won't be limited to the initial issue's 28 pages, for that could constrict discussion and analysis. The initial issue has seven fairly lengthy reviews of individual books, a multiple review of eight novels, shorter reviews of three books, 14 Hcapsule critiques" by Morrison, the first column of "Ramsey Campbell, Probably," a column by Thomas Ligotti (I assume the author of this column will vary), the editorial, and thorough listings of horror fiction/nonfiction announced by U.s. and U.K. pub lishers for the first half of 1991. All this is presented in an attractively designed package, 7x8 1/2inches, stapled. The criticism in Necrofile is informed and rigorous, and careful editing is evident. Anyone, including libraries seeking guidance in selecting the best of hnrror fiction and nonfiction, will find this essential and bargain priced. The newsletter is much more modest in its aims, as its title suggests. About two and a half pages of issue 22 are devoted to descriptions of books and small press magazines and reviews of three nonfiction works and one work of fiction. The double column format is utilitarian and suffers severely in comparison to the professional appearance of Necrofile, which provides a far greater value for the money. If you aren't looking for the media-oriented coverage of magazines like Fear, and want some intelligent perspedives on the field of horror literature, mail a check now for a charter subscription to Necrofi/e (specify you want it to begin with issue 1). Neil Barron
SFRA Newsletter, 193, December 1991 25 From Cult to Culture Klinkowitz, Jerome. Slaughterhouse-Five: Reforming the Novel and the World. Boston: Twayne, 1990. 119 p. $20.95.0-8057-9410-7. This slim volume, #37 of Twayne's Masterwork series, joins volumes on other standard high school and college classics, such as Heart of Darkness, The Red Badge of Courage, and The Wasteland. The inclusion of a volume on Slaughterhouse-Five seems anomalous but it does mark the novel's change of status from cult novel to cultural icon. The company this study keeps suggests that it is meant for students and teachers; judging by Klinkowitz's tendency toward mid-level critical language, the work seems pitched more to teachers wanting a quick study before presenting a standard text outside their literary field. The volume contains a chronology, essays on the novel's historical context, significance, and critical reception, an extended reading, and a bibliography-the standard format for the series. As with most Twayne volumes, this one is basic, useful, and generally sensible. Klinkowitz is, of course, an expert on his subject (he cites ten of his own works in the secondary bibli ography), and his discussions of the novel's use of metaphor and motif to build a sense of simultaneous chronology and of Vonnegut's own role in the novel are excellent. The final essay, exploring the autobiographical and international historical parallels to Vonnegut's text, was fascinating. The volume is not, however, without problems. First, there is enough repetitiousness and wordiness to suggest that Slaughterhouse-Five could have been better served in a shorter monograph. Second, there are moments when the analysis becomes reductive or facile. One quote illustrates that problem: Slaughterhouse-Five is a system rather than an entity, a combi nation of differences rather than identities. This formal achievement befits the special nature of Vonnegut's theme: that the struggle to say something about a massacre is frustrating, because there is really nothing that can be said. The idea of the novel as system rather than entity (clearer in context) is quite sophisticated, clever and convincing; while reducing the novel's theme to mere frustration about the unspeakable, it undercuts the sophistication of what preceded it. Despite these problems and a certain narrowness of vision about the novel's relationship to science fiction, Klinkowitz's study is full of intelligent and perceptive analysis, and serves as a convenient quick study of
26 SFRA Newsletter, 193, December 1991 Vonnegut's finest novel. Any teacher who wants to go beyond that would probably do better by exploring Klinkowitz's secondary bibl iography, while a student using the volume might be discouraged by some of its complexi ties. However, Klinkowitz's reading of the novel, his research of Vonnegut's war experience, and his expertise in post-modern fiction, all make this work volume valuable in spite of its flaws. Joan Gordon A Literature with Few Readers Kuehl, John. Alternate Worlds: A Study of Postmodern Antirealistic Ameri can Fiction. NY: New York University Press, 1980,373 p. $50. 0-81474598-9. Having attempted John Barth's Giles Goat-Boy, Robert Coover's The Public Burning and other works of the antirealists, I was relieved to find sev eral comments in Kuehl's study that address what seems to be the most dev astating criticism of the "postmodern antirealists"-namely, that few people can read them. Kuehl cites William Burroughs' evaluation of Joyce's Finnegan's Wake as a "book which nobody can really read," then further notes Burroughs' decision that he "couldn't let that happen to me .... Cities of the Red Night is a very carefully elaborated novel, put together somewhat like a roman a [sic) clef, with a beginning, a middle and an ending with links and a precise story." Yet Kuehl concludes that "Burroughs is rationalizing here, since, though Cities of the Red Night commences coherently, it con cludes chaotically. Kuehl repeatedly admits that the purposes and forms of the anti realists run the risk of losing their readers' attention, even acknowl edging that "few academics have read Giles Goat-Boy despite the fact that it is an academic novel with an academic appeal. Contemporaryantirealists, whether reflexive or non-reflexive, will always have a small audience." These admissions are necessary but unfortunate. Kuehl does an admi rable job anatomizing the forms and structures (or lack of same) that char acterize the works of the anti realists-notably Barth, Burroughs, Coover, Vladimir Nabokov, Donald Barthelme, Ralph Ellison (a brief but exemplary discussion of Invisible Man), William Gaddis, John Hawkes, and others. He places them in historical perspectives that include Hawthorne, Poe, and Eliot. He organizes his discussions around central themes and images of these writers, dividing his discussion into three parts: "The Author as God," "The Universe as Madhouse," and "The Future as Death." Individual chapters discuss "Reflexivity," "The Ludic Impulse," "Maximal ism versus Minimalism," "FragmentationlDecentralization" "The Grotesque and the Devil," "Imaginary Landscapes," "Absurd Quests," "Fictitious History," "Conspiracy and Paranoia," "Entropy," and "Nightmare and Apocalypse."
SFRA Newsletter, 193, December 1991 27 The listing is important since it suggests the primary value of this study for those interested in science fiction and fantasy. Kuehl avoids overt connections between the postmodern antirealists and science fiction; indeed, the term appears only a handful of times in the text, and then offhandedly, But certainly the concerns of the anti realists are, in large measure, also those of the fantasists, although their approaches and goals differ widely. Kuehl's careful dissection of the antirealist factions may serve best as a means of entry into discussions of how science fiction and fantasy-occasionally even horror fiction-have grappled with similar problems, have illuminated simi lar difficulties, have defined similar social concerns ... but in ways that appeal to far wider audiences and that may eventually prove far more valid and valuable. Frequently, Kuehl's comments about one or more of his chosen authors ring familiarly as he makes points that lead to connections between this narrowly focused, academic, elitist form and science fiction or fantasy. Kuehl does not make those connections explicit, but they are often there for readers with backgrounds in SF and fantasy. And thus the word "unfortunate" used several paragraphs above. Kuehl's discussions are clear, precise, evocative, and useful-in ways that the works he analyzes are perhaps not. He demonstrates an admirable command of his subject but his subject is one that relatively few readers have encountered, fewer have found worth exploring further, and even fewer yet claim to be able to understand. It is a literature that systematically divorces itself from the expectations and needs of most of its potential readers by deconstructing and/or ignoring traditional elements of plot, character, setting. It is a literature that succeeds primarily by alienating readers. As Kuehl says in his closing interview, "As intellectuals, as academics, the antirealists of ten lose sight of ordinary humanity. That's why they will never have a wide audience." As a secondary work that is in some ways more interesting and ulti mately more satisfying than the primary works it explores, Kuehl's study is useful; as a work that suggests alternate approaches to questions and concerns fundamental to science fiction and fantasy, it is valuable. Kuehl has included a long interview, conducted by James W. TuUleton, which often makes critical points even more clearly than happens in the main text. There are also extensively annotated notes, a full bibliography, and an indexall of which amplify this book's usefulness as a research tool. Michael R. Collings [The Choice reviewer remarked: "Constituting almost a handbook of the canon of postmodern American antirealistic fiction, Kuehl's study is acces sible and of value for readers from the informed generalist through graduate
28 SFRA Newsletter, 193, December 1991 students and faculty ... Kuehl is encyclopedic in his approach at the same time that he provides, in effect, a series of mini-essays on various short sto ries and novels. The study is graced by a 57-page introduction that surveys the American roots of postmodern antirealism and by a concluding 27-page interview, both by James W. Tuttleton, that challenge both Kuehl's ideas personally and his formal textual thesis ... Some readers will be startled by this study, some offended, but all should be challenged to explore further the implication of what is happening on the contemporary American literary fictional scene."-NBJ The Young C.S.Lewis Lewis, C.S., All My Road Before Me: The Diary of C.S. Lewis, 1922-1927, ed. by Walter Hooper. NY: Harcourt Brace Jovanovich, June 1991, xiii + 508 p. $24.95. 0-15-104609-3, London: Collins. "Will books on CSL ever end?" one asks-and the answer, at least as far as All My Road Before Me suggests-is a simple and unqualified "No." Edited by the indefatigable Walter Hooper, with a personal and instructive "Foreword" by Owen Barfield, this compilation of Lewis's thoughts from his 24th to his 29th years is surprisingly readable, more than justifying itself, although not for the reasons many Lewis scholars and fans might wish. There is little here of Lewis the public figure; little of his struggles with agnosticism and belief; little of his emergence as a premier apologist, scholar, and man of letters. Instead, the diary offers what is (given the overwhelming mass of bio graphical and bibliographical data available on Lewis) even more valuable. Here we meet the young Lewis, writing for a small audience of himself and Mrs. Moore, chatting about daily events. The book is surprising also in that what emerges for those at times self-indulgent chats is a new picture of Lewis as human, vulnerable, at times frightened that he might not even find his life's work. He records his struggles over Dymer and his fears that poetry may prove not to be his forte-fears that proved well grounded, of course, but the discipline and experience of writing his narrative poem certainly provided essential foundations for his later fictions. Eminently readable (even if one does occasionally stumble over archaic British academic slang), the diary is well documented, with not only useful footnotes (some provided by Lewis and his brother), eight unpaginated pages of plates, and an exhaustive index to people, places, and ideas, but an ac companying "Biographical Appendix" with lengthy entries for the key figures in the text. The only quibble one might make is in fad addressed by Hooper. The original diary runs in excess of 250,000 words; this edition has deleted
SFRA Newsletter, 193, December 1991 29 about a third of that. Hooper provides ellipses and assures readers that his excisions incorporated repetitions and enumerations of "domestic chores which I dare say lewis was happy to forget when they were written down." Still, there is an occasional niggling sense of things missing, plus the fear that Hooper's judgment might not coincide exactly with the reader's. All things aside, however, the diary can be delightful. lewis's anti-Eliot cabal is described with wicked humor; his relations with Mrs. Moore appear deeper and more complex than they are frequently made out to be in biog raphies. The description of a two-week vigil at the side of a man in the throes of insanity is harrowing-especially when one realizes that at the time lewis was attempting to complete a three-year course of study in one year and Simultaneously support a household of three on an undergraduate's allow ance. Over the years, lewis spares no one-neither friend, nor foe, nor him self. He can be alternately blunt, lyrical and rhapsodical, or prosaically matter-of-fact. But throughout, the voice is uniquely that of C. S. lewis. All My Road Before Me, in conjunction with previously published collections of lewis's letters, adds immeasurably to our understanding of a complex and intriguing individual. Highly recommended. Michael R. Collings Interesting Critical Snapshots lloyd-Smith, Allan. Uncanny American Fiction: Medusa's Face. london: Macmillan. 1989. xii + 186p., Sterling price not given. 0-333-42872-2. NY: St. Martin's, 1989. $35. 0-312-02472-x. This study is an interesting if rather disorganized series of critical snap shots of classic American horror writers and texts. Chapters are devoted to Charles Brockden Brown, Poe, Hawthorne and Melville, and Henry James. The basic organizing thread is Freudian and post-Freudian theory, especially the concept of the "uncanny" and its psychological ramifications. As with all psychoanalytic critics of literature, lloyd-Smith reads primary texts for their strategic silences and repressions. Though he labors to avoid mere reduction ism in his analyses:"l have attempted to work out a series of different and I hope differently illuminating directions, rather than determine a single position and apply it across a wide range of texts." Thus, his analyses center around "possible psychological structures involved in the processes of reading ... material that we call uncanny, including ... the fear of helpless ness and the fear of repetition: of the double and death; of what cannot be spoken." These themes are tracked through the texts of the major figures in the American Gothic tradition listed above, with a bridging chapter devoted to minor writers of the late 19th century and a later chapter on "Women and
30 SFRA Newsletter, 193, December 1991 the Uncanny." Bookending chapters on Freudian and post-Freudian theory sketch the animating assumptions of the study. Lloyd-Smith's admirable desire to avoid psychological reductionism also makes for one of his books's major problems: its lack of structural coherence in argument. Lloyd-Smith is basically concerned to trace the evolution of the uncanny from a Gothic formation (in Brockden Brown) to a Romantic one (in Poe) to a Transcendental one (in Hawthorne and Melville) to a Psycho logical one (in late 19th century authors) to a Symbolic one (in James). This is a very interesting arc of development, but its rationale must be inferred since Lloyd-Smith never fully explicates it. Instead, he relies on a fairly con ventional literary-historical schema to provide the larger framework for his argument, devoting himself to close readings of individual texts in chapters that often seem disconnected from one another. These readings are almost always insightful, and they bring to bear many fruitful areas of concernsuch as feminism, philosophy of language-in their analyses of the writers and works. But they don't add up to a new map of the territory of HUncanny American Fiction"; rather, they function as a series of probings of terrain that remains basically settled and complete. Rob Latham A Modern Illustrator Receives Her Due Nudelman, Edward. Jessie Willcox Smith: A Bibliography. Gretna, LA: Pelican Pub. Co., 1989. 184 p. $75. 0-88289-696-2; deluxe edition $150. -697-0. _______ .Jessie Willcox Smith: American Illustrator. Gretna, LA: Pelican, 1990. 144 p. $39.95. 0-88289-786-1. Jessie Willcox Smith (1863-1935), during her professional career of more than 40 years, was a prolific book and magazine illustrator, with a cover il lustration on every issue of Good Housekeeping published from December 1917 to April 1934. She studied with both Thomas Eakins and Howard Pyle and was a member of a generation of noted illustrators taught by Pyle that included N. C. Wyeth, Maxfield Parrish, Frank Schoonover, and Elizabeth Shippen Green. Smith was undoubtedly the leading female American illus trator of her time and her Good Housekeeping covers gave her work the kind of popular artistic identification that was accorded to Norman Rockwell for his Saturday Evening Post covers. Her magazine covers celebrated childhood and motherhood, an ironic choice of subjects for the unmarried artist, but her work encompassed a wide range of subjects, including numerous fantasy illustrations. Nudelman's two volumes are the first major additions to the Smith bibliography since S.
SFRA Newsletter, 193, December 1991 31 Michael Schnessel's Jessie Willcox Smith, a biography of the artist published by Crowell in 1977. The introductions by Nudelman to the two Pelican imprints add little to Schnessel's biographical study, but the extensive color reproductions of Smith's book and magazine work and the really impressive bibliographical volume are another matter entirely. JWS: American Illustrator is an obvious choice between the two books for a general collection on American illustration. The 30 page introduction to Smith's life and work seems at first to be a more substantial treatment than the 10 pages of the bibliographical volume, but the two introductions are only two states of the same treatment of the information, and the wide mar gins and large type of the illustration volume are largely responsible for the impression of a longer study. The heart of this book is in the four sections of color illustrations, arranged thematically or generically ("Mother and Child," "Scenes from Childhood", "Fairy Tales," and "Children's Classics"). Many of the 105 color plates are full-page reproductions, and the selection demonstrates both Smith's enormous technical skill and the range of her subjects. Nudelman praises Smith for anchoring her subjects in the natural world, but the "realistic" detail is accompanied by an imagination that achieves wonders in the illustration of fantasy works like The Water Babies and The Prin cess and the Goblin. Even among the more subject-restricted magazine cov ers are superb fantasy treatments (as in that of The Little Lame Prince for the April 1923 Good Housekeeping cover). The influence of Pyle, and the affini ties with Parrish, are less evident in the later work, but the wide selection of illustrations provides a basis for a new-and expanded-perspective on Smith. As useful and revealing, however, as this volume of illustrations may be, in Jessie Willcox Smith: A Bibliography Nudelman has compiled (and Peli can has masterfully produced) the finest illustrated bibliography ever devoted to a popular illustrator. Each of the full bibliographical descriptions of Ameri can and British first editions and early reprints is accompanied by color re productions of the bindings and of book jackets (where available), as well as representative illustrations. In addition, numerous illustrations accompany the checklist of magazine illustrations, and examples of her poster and cal endar art are included. Given the extent of the illustrative material in the two volumes, the com plete collector will want to purchase both books. But whatever the decision on purchase, it is apparent that a re-evaluation of the artist's status among modern illustrators is long overdue. Walter Albert
32 SFRA Newsletter, 193, December 1991 A Critical Feast for Epicures Lovecraftian Schultz, David. E.and S. T. Joshi, eds. An Epicure in the Terrible: A Centen nial Anthology of Essays in HonorofH. P. Lovecraft. Rutherford, NJ: Fairleigh Dickinson Univ. Press; distr. by Associated University Presses, Cranbury, NJ, 1991,347 p, $45. 0-8386-3415-X. Though it has arrived tardily to celebrate the centenary of HPL's birth in 1890, this volume of essays may mark a watershed in Lovecraft studies. What it demonstrates, above all its other merits, is that its subject is one of the few significant writers of the present century who is both safely dead (therefore his t::iltire corpus can be evaluated) and not yet so written about that critics in search of tenure must warp the existing fiction into some conven ient criti cal fiefdom that ends up saying nothing of value to the reader. HPL, however, is relatively virgin territory. What the fourteen contributors have to say in Epicure about his themes, tropes, methods, influences, observed traditions, and lineage by no means exhausts the possibility of further attention by fu ture researchers, good though most of the essays are. Their work should not escape notice, preserved as it is from a respectable source. They have built a foundation; let us hope the other critics come to erect a superstructure. Some of the entries will be familiar in altered form to dedicated Lovecraftians. Kenneth Faig's article on HPL's parents is nothing less than a very well edited reduction, omitting most of the speculation and awkward repetition, of his monograph that Necronomicon Press published in 1990s. Will Murray's examination of HPL's relationship to the pulp magazine con ventions and personalities of his time, Robert M. Price's discussion of HPL's mythology and Barton St. Armand's study of Lovecraft and Jorge Luis Borges are welcome expansions of their too brief contributions to Necronomicon Press's Proceedings from the centenary conference in Providence. These three are, for me, among the most valuable entries (reviewed in earlier News letters). Murray, probably by accident, has tapped into one of the hot new critical areas, the sociopolitics of publishing, while St. Armand not only traces the synchronicity of themes Lovecraftian and Borgesian, but also traces the contradictory references to HPL in Borges's writing. The book is divided into three subject areas, biographical, thematic, and comparative and genre studies. Faig and Murray are in the first part, along with Jason C. Eckhardt's examination of New England Yankeeness in HPL's fiction. Price and St. Armand share the final category with R. Boerem's close study of the role of the "gentleman narrator" in the fiction and Norman R. Gayford's illuminating discussion of Lovecraft's awareness of and references to the spirit of Modernism which was abroad in the literary land during his lifetime.
SFRA Newsletter, 193, December 1991 33 For me, the most thought-provoking essay among the thematic studies is that of Donald R. Burleson which uses the trope of the narrator in "The Outsider" touching the glass, revealing to him in the mirror his essential otherness, as reflected in HPL's other fiction. Editor Schultz writes persua sively of the growth of HPL's vision of the world following his marriage and sojourn in New York. Peter Cannon takes a typical publish-or-perish topic, HPL's use of the handwritten word, converting it, in his always readable style, into an illuminating and entertaining study. Stefan Dziemianowicz tackles a large topic, the use of isolation and alienation by HPL; though dis cussions of particular stories prove to contain valuable insights, my impression of the whole is of a certain diffuseness, similar to that experienced read ing Robert H. Waugh's "Landscapes, Selves and Others in Lovecraft." I en joyed the ramble, but I'm not sure that its destination was ever clear. Steven J. Mariconda's "Lovecraft's Cosmic Imagery" is, if anything, too brief for the concepts that he discusses well. Finally, S. T. Joshi's introduction, though it mostly covers ground overly familiar to initiates, will serve as an excellent background piece for academ ics who may pick up this volume in their school libraries. Though all the contributors write clearly and to a man (factual observation, not sexist cliche) provide just the right amount of plot summary for the works they treat, Joshi's entry, which covers all three of the book's general categories, is of ten insightful for the Lovecraftian and invaluable for the neophyte HPL scholar. I note that only two of the contributors are currently teachers of English in four-year schools, where publication might be career-advancing (two others are at community colleges and one, though not mentioned in his bio, is a high school teacher). The thought does cross my mind that the general excellence of the prose and the feeling of commitment to the subject, rather than to the writer's own ego, may result from this fact. There is an excellent and almost up-to-date critical bibliography (it omits Burleson's deconstructionist study, which must have been in press). University libraries will, of course, want to have the book, and for once I recommend that individual readers consider purchasing it, despite the price. Bill Collins A Mercurial, Ungenial Genius Smith, Steven C. A Heart at Fire's Center: The Life and Music of Bernard Herrmann. Berkeley: University of California Press, July 1991. x + 415 p. 31 photographs. $29.95. 0-520-07123-9. This is a comprehensive and well-researched examination of one of film music's most distinguished, and most notorious, composers. From his first
34 SFRA Newsletter, 193, December 1991 film score (Citizen Kane) to his last Taxi Driver} and the 49 films in between-including Jane Eyre, The Ghost and Mrs. Muir, The Day the Earth Stood Still, Vertigo, The 7th Voyage of Sinbad, North by Northwest and Psycho-Herrmann was a master at evoking psychological nuances and subtle dramatics through music, often using unique instrumental combinations to suit the dramatic needs of a film. As Smith writes, "Herrmann's greatest gift lay in finding dramatic tension in the simplest of devices, the subtle interrelationship of [musical) color and rhythm." Smith traces Herrmann's life from his youth in New York, developing his musical talents and gaining a foothold in music at CBS radio, through his association with Orson Welles (part I, 1911-1951) that led to his involvement with Hollywood and his association with filmmakers such as Hitchcock, Schneer/Harryhausen, Truffaut and Martin Scorsese (part 2, 1951-1971), to his final years in London (part 3, 1971-1975). In this meticulously documented account, Smith also examines Herrmann's turbulent personal life, his mercurial personality and difficulty in maintaining relationships. This, coupled with Smith's analysis of each of Herrmann's radiO, film television and concert scores, provides an insightful and broad examination of Herrmann and his music, and describes its development both unto itself and as part of the collaborative drama of the cinema. An appendix includes a listing of all his music and a selective secondary bibliography, which regret tably neglects several important articles on the composer, such as Jim Doherty'S excellent examinations of Herrmann's TV music in Midnight Marquee and the chapter on Herrmann's fantasy/horror music in my 1984 book, Musique Fantastique. Author of the Film Composer's Guide (Lone Eagle Publishing, 1990), Smith effectively describes the development and use of Herrmann's music, in a mixture of musicological and dramatic terms. The text is quite readable, and quotations from letters, documents and interviews with Herrmann's friends and contemporaries brings to life scenes and vignettes from Herrmann's life, respectfully portrayed. As an academic biography, Smith provides a portrait of an ungenial genius, a master of music committed to his craft and his art, whose intolerance for what he regarded as substandard art frequently displaced those around him, yet whose integrity drove him to produce the best work possible, no matter what the project. "Few American composers followed a more rigid set of personal and creative standards-or lost more friends and work because of them," Smith writes in his prelude. "Explosive, insecure, paranoiac, Herrmann was, as many observed, his own worst enemy. His self-cultivated notoriety is a pity: it obscures a faScinating, often paradoxical array of virtues."
SFRA Newsletter, 193, December 1991 35 Smith effectively peels back the layers of Herrmann's personality, slid ing aside the abrasive arrogance that masked personal insecurity to reveal the deeper feelings and psychology that motivated Herrmann's art. What comes out of it all is a vivid picture of a multi-faceted artist; perhaps an apology for his social failings, but more importantly an insightful look behind Herrmann's often blazing fury, to see what lay at the heart of his creativity. As its title suggests, there is indeed a heart at the center of Herrmann's cre ative and socially-abrasive fire, a heart of sensitive and delicate honesty and grace that found its expression only through the medium of music. While Herrmann blundered at social intercourse, the music that emanated from within was far more than mere programmatic music. While rooted in a dra matic medium, it revealed the impressionable soul within. No one served cinema better than Bernard Herrmann, and his incred ible music provided not only some of the medium's finest and most dramatic film music, but left a legacy of modern music which is among the most pro found and intriguing of this century. Smith concludes that Bernard Herrmann was not simply a film composer. He was, as Herrmann insisted, a composer who did films, and his music, whether for the medium or not, has left a lasting impression upon contemporary music. Smith's book effec tively brings this to life and carefully traces the roots and developments of this remarkable composer. Randall D. Larson Something Other Than Enchantment Watson, Jeanie. Risking Enchantment: Coleridge'S SymboliC World of Faery. Lincoln, NE: Univ. of Nebraska Press, 1990,235 p. $25. 0-8032-4730-3. Watson's avowed purpose in Risking Enchantment is to demonstrate that "Coleridge, in his poetry of symbolic encounter, uses the Other World of Faery as a metaphor for the dwelling places of mystery" ( 28), allowing him to create a symbolic context that "associates the world of Faery with the realm of imagination and Spirit, with the willingness to suspend disbelief and participate in mystery" ( 2). Watson focuses her attention on poems such as "Kubla Khan," "The Rime of the Ancient Mariner," "The Eolian Harp," and "Christabel" to generate a reading of those poems and a paradigm for Coleridge's use of the world of Faery, as defined by reference to folk fairy tale, literary fairy tale, kunstmarchen, and other forms. While there is much of interest in Watson's study, there are also several distracting elements. Watson spends well over a quarter of her text establish ing basic definitions ("symbol," "symbolic world," Ufaery"), quoting fre quently from J. R. R. Tolkien, T. S. Eliot and others, often without attributions
36 SFRA Newsletter, 193, December 1991 other than terminal parenthetical title references. Occasionally, the marshal ling of external authorities threatens to overwhelm Watson's argument, as when in the span of three pages, she quotes (several at substantial length) Tolkien, Max Luthi, lona and Peter Opie, Bruno Bettelheim (twice), Charles Dickens, Jane Langton, Coleridge, C. G. Jung, Ursula K. Le Guin, and Maurine. This particular passage unfortunately sounds more like a disjointed dissertation-style overview than an integrated part of a coherent literary dis course. Even more difficult to work with, Watson attempts to elucidate the com plex relationship of metaphor to symbol, and of symbol to "Other" in Coleridge's philosophy and literary theory. Her handling of metaphor/sym bol/Other/God requires that she reproduce the complexity of Coleridge's philosophical language as translated and transmitted by her own academic approach. One consequence is that Watson's text is as abstract and dis tanced as the original philosophical language it was intended to explicate: . "the poet-narrator's own encounter-and that of characters within the narrative is conveyed-so as to allow an analogous encounter for the reader. There is an attempt to make secular works speak the Word of Love and Wholeness-to speak, in other words, the language of Sight-an attempt almost always finally and inevitably fragmentary or somehow inadequate because the words must be spoken in a fallen world." With extensive notes, a solid bibliography, and a complete index, Risk ing Enchantment seems most useful for advanced Coleridge scholars who have already come to grips with his often elusive vocabulary. Readers less fully prepared, or those seeking insights into faery and fantasy (in their contemporary meanings), may find themselves risking something other than enchantment. Michael R. Collings [Choice's reviewer was equally unenchanted: "Yet the fairy tale and Christian elements Watson addresses are never synthesized into convincing or illuminating readings ... The study attempts to fill a critical lacuna in Coleridge studies but adds disappointingly little to our understanding of the anthologized poems." -NBJ Enchanted World Revisited White, Colin. The Enchanted World of Jessie M. King. Edinburgh: Canongate, 1989. xii + 164 p.$55. 0-86241-235-8. $29.95 pb. -363X. Distr. by Trafalgar Square, Box 257, N. Pomfret, Vf. 05053. Of the four leading illustrators in what is often referred to as the Golden Age of British book illustration, only Rackham was English; Harry Clarke was Irish, and Edmund Dulac and Kay Nielsen were, respedively, of French and
SFRA Newsletter, 193, December 1991 37 Danish origin. Jessie M. King, except for a period when she and her husband, artist A. E. Taylor, lived and taught in Paris, spent her entire life (1875-1949) in Scotland. Although she was not as celebrated during her lifetime as her male contemporaries, since her death her work has been gradually re-evalu ated. Like Clarke, a major figure in the modern revival of stained-glass art, King's importance goes beyond her achievement in book and magazine il lustration. While studying at the Glasgow School of Art, she won honors in bookbinding and cover designs as well as prizes for drapery studies and inte rior decoration. Her first international recognition came from book design, but a contract from Routledge led to a series of small books for which she both designed the covers and contributed four black-and-white illustrations. During these early years, she exhibited drawings based on tales by Hans Andersen and in 1905 contracted with Routledge to illustrate a new edition of Milton's Comus, a work that Rackham was also to illustrate in 1921. The illustrations, as Colin White points out, showed the influence of Aubrey Beardsley but also, in the use of floral embellishments and figures outlined with a halo, characteristics of her own developing style. The majority of King's books were not issued in the elaborate signed, limited editions that were a feature of the illustrated book market of the first two decades of the century. Although she sometimes provided only decorations for the bindings and end-paper illustrations, her subjects were the tales of Grimm and Andersen, English classics like Alice in Wonderland, Lamb's Tales from Shakespeare, Gulliver's Travels and The Water Babies, and, in common with Edmund Dulac, the Arabian Nights. She delighted in the deli cate hues of pastel and elaborate border decorations, and her female figures are often idealized fantasies in balloon dresses that make these ethereal girls and young women seem to be airborne. The Taylors were in Paris when Diaghilev's Ballets Russes electrified the dance and art world, and Jessie, excited by the bold colors of Leon Bakst, incorporated the dramatic red, black and orange colors of the Russian stage designer's palette in her draw ings. White includes a color reproduction of a cover design in the new style for Rossetti's The Blessed Damozel (circa 1915) that is all the more startling in juxtaposition with a pastel illustration for liThe Sleeping Beauty." White, author of the fine Edmund Dulac (Scribner, 1976), has written supply and sympathetically on King and on the "evolutionary years of the Glasgow style." There are numerous illustrations in black and white and in color, and photographs, although the color work reproduced in black and white is often muddy in effect. There is a useful chronology, a fully annotated checklist of King's work, and an index. White was given access to the fam ily papers and photographs by the artist's daughter, Merle Taylor, who, in
38 SFRA Newsletter, 193, December 1991 spite of failing health, spent Nmany hours" in conversation with the author. The Enchanted World of Jessie M. King is an important contribution to the meager list of books on women illustrators and an essential purchase for any reference collection on modern book illustrators. Walter Albert The Tao of Dither Zentz, Gregory l. Jupiter's Ghost: Next Generation Science Fiction. NY: Praeger, May 1991. xvii + 158 p. $39.95 0-275-9340-5. Distr. by Greenwood Pub. Gp. tJuried in the pages of Jupiter's Ghost is a fine idea for a book: to explore how British and American science fiction has mirrored the dominant para digms of its times by responding to changes in scientific knowledge during the past two centuries. This is a tall order. John Limon has written such an intellectual history of American fiction in The Place of Fiction in the Time of Science (Cambridge, 1990) and Robert Nadeau has explored the role of physics in the modern novel in Readings from the New Book On Nature (Univ.of Massachusetts, 1981), but the only such work to focus on science fiction is Karl Guthke's brilliant The Last Frontier (Cornell, 1990; reviewed in Newsletter 184), which takes 400 pages to show how one scientific idea, the plurality of worlds, developed and influenced SF during the 19th century. In this book Gregory Zentz further aspires to explain the major ideas of modern physics (relativity and quantum mechanics) and their presumed re lation to Eastern mysticism, to instruct SF writers on how to incorporate these ideas into their fiction, and to critique the current SF scene. How, you may wonder, can he do all this in merely 158 pages? I regret to say that he does it dreadfully. Zentz's treatment of the history of SF, which occupies the first half of this book, is a garbled paraphrase of standard works by Gunn, del Rey, and Aldiss and Wingove; his range of texts is extremely limited and his comments on them consistently perfunctory; and his advice to writers is platitudinous and presumptuous, along the lines of flit is important for hard SF to have good science in it." And his view of the current SF scene is curious to say the least. We face, apparently,"the decay of SF as a popular genre" primarily because of "the difficulty of talking about the new sciences" of relativity and quantum physics. This all started, accord ing to Zentz, in the '60s when SF "travelled) stylistically inward on ... a wholesale scale," a trend that was aggravated by "It) he growth of magazines and trade journals for chemists, biologists, computer hackers, and the like, and the necessity of spending more time on what was in effect study support ing the increasingly reductionist growth of their areas of interest." This de-
SFRA Newsletter, 193, December 1991 39 velopment "left the writers of hard SF stymied, such that many began to turn to fantasy, out-and-out escape." In particular, predicative hard SF, which Zentz seems to consider the only worthwhile SF, is on the way out: If the quality of an individual's life is perceived as being propor tional to the quality and degree of technology, then when technol ogy ceases making major leaps and settles into a steady, if hair-rais ing acceleration into abundance-with an adulterated "brave new world" on the horizon, then narcissism obtains .... Ironically, such an inward glance would seem to point directly toward the reading of a fiction where that total immersion of soul that occurs in a combined cognitive and affective literary experience would obtain. Yet this very cognitive element might be what is destroying hard SF. I've no idea where Zentz got the idea that SF in general and hard SF in particular is dying-certainly not from Locus-and, characteristically, he offers neither details nor documentation. Bad as his comments on SF are, his treatment of physics is even worse: a hash of incorrect statements of facts and theories and oversimplifical.ions and distortions of the history of physics in general and the relationship be tween classical and modern physics in particular. One of many examples: in three pages he manages to incorrectly state every major inSight of the early days of quantum mechanics-which he seems to think is synonymous with quantum electrodynamics. [It's not: as physicist Richard Feynman explains (using words, not mathematics) in his nonspecialist book QED (Princeton, 1985), quantum electrodynamics is a subfield of quantum field theory which is used to describe the interaction of elementary particles such as electrons, pOSitrons, and photons.) Zentz also repeatedly misrepresents the scientific method, science as an activity ("especially in his grossly distorted accounts of the observation of Supernova 1987 A and the purported discovery of cold fusion), and the views of physiCists. Indeed, a fundamental precept of his book-that neither physiCists nor SF writers can articulate the ideas of contemporary physics "in terms of con ventionallanguage"-is simply wrong. I have been a practicing quantum theorist for about 20 years and have met scores of other physicists, and none of us, 1 am sure, would agree with Zentz that "today's new physics is left without a semantic foundation for discussion." It is simply not the case, for example, that ideas such as wave-particle duality are so nonsensical or in explicable as to require such extreme measures as the development of koans, which Zentz advocates in Chapter 4, for their communication. Dubious readers should seek out the aforementioned book by Feynman, Heinz R.
40 SFRA Newsletter, 193, December 1991 Pagels' The Cosmic Code: Quantum Physics as the Language of Nature (Simon & Schuster, 1982), George Gamow's Thirty Years That Shook Physics (Dover 1985), or Werner Heisenberg's articulate, accessible essays in such collections as Physics and Philosophy: The Revolution in Modern Science (Harper & Brothers, 1958). All of these books are by physicists, all communicate subtle concepts using "conventional language," and not one appears in Zentz's bibliography. Jupiter's Ghost is sure to infuriate anyone who understands modern physics at a conceptual level and bewilder everyone else; worse, it will exacerbate the misconception that modern physics is incomprehensible except insofar as it somehow implies the tenets of Eastern mysticism-which it does not. I have quoted Zentz at length to try to communicate the feel of his unique prose style, but only extended quotation would convey its cumula tive numbing impact. Sentences are choked with awkward phrases, gram matical glitches, malapropisms, irrelevant interjections, vague generaliza tions and unsupported assertions, cliches, redundancies, and non sequiturs galore. Such sentences, often unrelated to one another, clump together in paragraphs, frequently accompanied by quotations which float in a void of disjunction from the surrounding text. Paragraphs, in turn, agglomerate into chapters so incoherent and disjoint as to preclude ascertaining their topic. In the last half of the book even the modicum of structure provided by chro nology collapses; reading these chapters is like taking a random walk through a ruin. But the blame for this excruciating book must not rest entirely with the author. Did no one at Praeger read it in manuscript? Surely no one edited it. Publishing it in this state was a gross disservice to Zentz and to its apparent target markets, libraries and scholars (note the price to page-number ratio). I respect Zentz's enthusiasm for science and hard SF, but this book is in every respect so dreadfully executed that I can recommend it to no one. Michael A. Morrison A Stultifyingly Abstract Study Zizek, Slavoj. Looking Awry: An Introduction to Jacques Lacan Through Popular Culture. Cambridge, October Books/MIT Press, June 1991, 188 p. $22.50 0-262-24031-9. Zizek's subtitle is a misnomer, pointing to the most serious difficulty with this heavily academic, stultifyingly abstract study. It is not an introduction to lacanian thought, at least not in the sense that Zizek intends to make lacan's ideas more accessible to readers not already far more than passingly famil iar with it. Looking Awry is, instead, dense and closely woven academic
. SFRA Newsletter, 193, December 1991 41 analysis, so inescapably studded with the technical jargon of Lacanian thought that a reader not already easily conversant with that vocabulary is almost immediately lost. In addition (or perhaps because of the first diffi. culty), the text itself approaches sheer unreadability. Sentences are abstract, passive, recursive, self-referential, and repetitious, with half a dozen HLe." references in almost every paragraph, and an equal number of colons, semi colons and parentheses, often all three embedded into a single structure. Such elements are not in themselves damaging, but coupled with Zizek's narrowly defined critical vocabulary, the text becomes increasingly impen etrable. For general readers, the passage from page to page requires more concentration than usual, and results as often in frustration as in insight. Zizek's goals are admirable, however. As he outlines them in his intro duction, he attempts to elucidate Lacanian philosophy by juxtaposing it with "contemporary mass culture." Thus, Lacan's ideas are set against works drawn from science fiction, detective novels, film noir, etc. Zizek concentrates on Hitchcock's films, but mentions in passing a number of science fic tion and fantasy stories. He even devotes several pages to a psycho-sexual mini-explication of Stephen King's Pet Sematary as it reflects and skews themes and symbolic values from Antigone. Unfortunately, execution does not rise to the level of intentions. The book remains unreadable; the connections to science fiction, fantasy, or horror are at best peripheral. Even a chapter titled "Toward an Ethic of Fan tasy" is so heavily jargon-laden that it seems to ignore its ostensible subject and rapidly loses itself in abstractions and symbolic formulae (see especially p. 158). More damaging are factual errors, such as the attribution of Arthur C. Clarke's HThe Nine Billion Names of God" to Isaac Asimov (not a simple typo, since Clarke is never even mentioned in the text). Ultimately, Looking Awry becomes the kind of academic text that does perhaps more damage than good through its impenetrable language that at times seems more intent on circumventing communication than in accomplishing it. It is critical dis course designed to perpetuate boundaries that inhibit understanding, rather than removing them. It is difficult to recommend the book to readers other than experts in Lacanian jargon. Michael R. Collings
42 SFRA Newsletter, 193, December 1991 Fiction Overly Subtle Metaphors Aickman, Robert. The Unsettled Dust. London: Mandarin, October 1990. 302 pages. .99 p. 0-7493-0173-2. Aickman, who died in 1981, is recognised as a distinctive and highly original writer of ghost and horror stories. Both his originality and his short coming lie in over-subtlety; his stories do not explain themselves. They are social metaphors, full of significant and unsettling small details of contem porary English middle-class society. They suggest all kinds of deep super natural conspiracies, yet they deliver no solutions, no easy conclusions, no smooth twists. In general these are stories to be read for reasons of texture rather than plot. This collection contains eight stories from Aickman's pre vious collections, three from The Wine-Dark Sea and five from Sub Rosa. They are typical Aickman stories, sometimes powerful, never fully satisfying. "The Stains", the best and longest, manages to be threatening and even ter rifying in its descriptions of how a middle aged civil servant (who has with drawn into himself and into the countryside after the death of his wife) finds a peculiar sort of love with a simple country girl as he prepares himself for death. Chris Morgan New Hard SF Series Allen, Roger MacBride. The Ring of Charon. NY: Tor, December, 1990. 500 P $4.95. 0-812-53014-4. (The Hunted Earth #1) Normally, when a book is announced as the first volume of a series, one suspects that it may be a case of" author bloat", where a story which should take one book is padded to fill several volumes. That is certainly not the case here. The first volume alone is longer than most fu"-Iength novels, and there are enough ideas and subplots in it to fi" several novels. A"en also pledges that, although there will be more books in the series, all will be able to stand alone. This first volume introduces a story of epic proportions, reminiscent of the old space operas while maintaining a strong technical background. As it opens, a young physicist conduds an unauthorized experiment in a lab on Pluto. The gravity waves generated by the experiment trigger an alien arti fact buried in the moon, which causes the Earth and a" the objects in cislunar space to be kidnapped through a wormhole to a space controlled by a Von Neumann machine in the form of a Dyson sphere.
1 SFRA Newsletter, 193, December 1991 43 Almost immediately, other artifacts attack the remaining planets and mine their substance with the intent of using the material to form another Dyson sphere. The physicist who caused the catastrophe, and the remain, ing people in the Solar System, are faced with the problem of finding out what happened to Earth, re-establishing contact, and stopping the demoli tion of the planets. The success of the latter effort results in the apparently permanent loss of contact with Earth. At the same time, there are hints of even greater problems ahead, both in the Solar System, and in the system of the Dyson sphere. Although the book ends with some real cI iff-hangers, it is complete enough in itself to satisfy-much as a good meal satisfies while letting one anticipate the next. Allen is one of the better new writers, with a wealth of imagination and solid technical background. This book is highly recom mended for all fans of hard science fiction, as well as for those who just want entertainment. If the remainder of the series lives up to the opening volume, it will be well worth watching for. W.O. Stevens Mixed Quality Barrett, David, ed. Digital Dreams. London: New English Library, October 1990. 347 p. .50. 0-450-53150-3. An original anthology of SF, fantasy and horror stories about computers is not exactly a new idea, though one hasn't been assembled in Britain before. By limiting himself to British authors and buying a lot of material from new writers, David Barrett
44 SFRA News/etter, 193, December 1991 Well-balanced, Valuable Volume Bishop, Michael, ed. Nebula Awards 24: SFWA's Choices for the Best Sci ence Fiction and Fantasy 1988. New York: Harvest HBJ, 1990.302 p. $13.95 pb. 0-15-665474-1. Michael Bishop seems more comfortable with editing the Nebula Awards volume this year, or perhaps his choices for non-winning stories strike me as more appropriate than those in Nebula 23. Taking pity on those who have not experienced previous volumes, he includes a clear explana tion of the Nebula selection process, and sensible justification for his own additions. He also defends himself vigorously against misguided critics who compare the Nebula Awards volumes to "best of the year" collections put out by Gardner Dozois et al. Ian Watson provides his usual comprehensive overview of the SF field, proving yet again that whatever else may occur in the SF community, agree ment about the fiction does not. His review is notable for its eclecticism, its thoroughly British tartness, and its frank bafflement at some "uniquely Ameri can resonances ... opaque to outsiders," specifically Connie Willis' "Last of the Winnebagoes." Watson judges the award winning novel of 1988, Lois McMaster Bujold's FaJlinq Free, "an out-and-out juvenile." Some of his best friends may be juveniles, but not Fallinq Free: lido members of SFWA really wish this to be seen as their pinnacle, their height of achievement?" Bujold's reply fol lows. After discussing her aims in writing Falling Free, she adds, "The novel may be 'a juvenile,' i.e. a book young people can read (in fact, I hope it may reach as broad an audience as possible); it is emphatically not juvenile, i.e., immature, trivial, or witless." The Nebula Awards volume cannot print the winning novel, of course, but one hopes that readers of these essays will try Falling Free and decide for themselves. While complete novels don't fit in this anthology, Bishop has done the next-best thing with Jane Yolen's The Devil's Arithmetic, nominated in the novella category (published in 1988 as a YA book by Viking, and in 1990 as a Puffin paperback); he has summarized the first chapters, and printed the complete ending. Yolen's story makes the horrors of the Jewish Holocaust vividly real and accessible to young readers, a magnificent achievement. As he did by printing Joe Haldeman's vivid "OX" in Nebula Awards 23, Bishop again includes a poem to touch the conscience, Robert Frazier's "The Daily Chernobyl." The winning novella, Connie Willis' "The Last of the Winnebagoes," also makes a social statement: about conservation of animals, water, and human beings. The winning novelette, "Schroedinger'S Kitten" by George
SFRA Newsletter, 193, December 1991 45 Alec Effinger engagingly explores the alternate world explanation of quantum mechanics, while Neal Barrett Jr.'s "Ginny Sweethips' Flying Circus," a runner-up, takes a slightly wacky look at one possible (post holocaust?) fu ture. In the short story category, James Morrow's winning "Bible Stories for Adults, No. 17: The Deluge" accounts most incredibly for the obvious gaps in Noah's story, while Jack McDevitt's "The Fort Moxie Branch" rings abso lutely true for most writers, especially those whose works seem to have dis appeared without a trace. Nonfiction almost dominates this volume. Greg Bear's tribute to Ray Bradbury, acclaimed a Grand Master of Science Fiction, is followed by Bradbury's own contribution, a poem, "The Collector Speaks," and a ringing challenge to censorship, "More Than One Way to Burn a Book." Two essays "In Memoriam" honor Robert A. Heinlein and Clifford D. Simak. As has become traditional, three Rhysling Award winning poems, by Bruce Boston, Suzette Haden Elgin, and Lucius Shepard, are also included, as is Bill Warren's movie review, "The Year of the Pratfall: SF Movies of 1988." War ren really doesn't like much of anything released in 1988, with one exception; honorably, he summarizes all his criticisms before detailing his praise of Who Framed Roger Rabbit. A most interesting addition comes from Paul Oi Filippo, whose essay "My Alphabet Starts Where Your Alphabet Ends" notes the complete dismissal of one of the most skillful and fertile writers of fantasy, Dr. Seuss. Bishop includes only one story that neither won a Nebula nor made the short list: Gene Wolfe's "The Other Dead Man." While one might wish he could also have printed several of the nominated short stories besides McDevitt's, one can hardly fault the choice to print the Wolfe. Spare, el egant, and understated,. "The Other Dead Man" comments forcefully on our cultural commitment to automation and avoidance of death. Nebula Awards 24 is a well-balanced and valuable volume. Martha A. Bartter Bloody Mountain Madness (oyne, John. Child of Shadows. NY: Warner, 1990,292 p, $19.95. 0-44651555-8. In the tunnels under Grand Central Station, a vicious serial killer strikes out at the city's homeless, ripping out human hearts with bare hands. In the world above, social worker Melissa Vaughn discovers thirteen year-old Adam, a homeless mute child who's been living in the darkened tunnels below the streets, surviving by his wits alone. Leaving her job in the city, Melissa takes the child into the Blue Ridge Mountains, determined to at once rescue him and exorcise the ghosts of her own secret past.
46 SFRA Newsletter, 193, December 1991 But Melissa's plans for a pastoral summer in her scenic mountain retreat are shattered when a group of religious zealots claim Adam as their "chosen one" while a wave of mysterious murders grips the town. Coyne's narrative is loaded with inconsistencies which continually break the novel's internal logic. When Reverend littleton of the New Land T ab ernacle Church is strangled by the psychopathic Betty Sue Yates, the town's people pronounce the cause of his death a heart attack without even a medi cal examination. Later, when Adam runs off by himself into the woods, Melissa's landlord soothes her hysterics with an Italian meal, and little no tice is taken when Adam returns to the house hours later, his hands and arms covered with blood. Finally, the novel's horror is dampened by Melissa's tendency to over intellectualize almost every situation, giving the impression that Coyne hasn't sufficiently developed his point-of-view character. Joseph M. Dudley Little but Big de lint, Charles. The Little Country. NY: William Morrow, 1991. 636 p. $22.950-688-10366-9. Charles de Lint is one of a few writers of this generation whose fantasy stories happen in today's world and are faithful enough to time, place, and people for the reader to enjoy the story without questioning its probabilities. For The Little Country, he has left his familiar Canada for Cornwall, to tell a story that moves within a very small region-Penzance, Newlyn, Mousehole, across the moors past Madron to Zen nor, back by Lemorna to the cliffs and Raginnis Hill. The events of the story, as in all good tales, occur within a few days to a small group of characters whom we get to like. The characters we first meet are folk musicians, amateur and professional, and music, as it is in all de Lint's books and more deeply in this than in most, is a moving force in both stories told. Both stories? Yes, de Lint has taken devices other recent authors have used successfully to create a unique story that is strengthened by the rever berations in the reader's memory of the earlier accounts. Just as the major character in Michael Ende's The Neverending Story reads a book in which its hero's adventures are repeated in his own story, so does de Lint's hero ine have, with variations, the adventures that she reads of Jodi having. And Jodi meets a mouse-size human, like those in "The Borrowers" tales by Mary Norton. For Jodi, those small folk are the piskies of the Cornish moors. The old superstitions of Cornish coast and moor are part of both tales, just as bits of local dialect are.
SFRA Newsletter, 193, December 1991 47 The two stories are presented to the reader in alternate chapters, each of which ends in a cliff-hanger crisis, whose denouement must wait while the other story moves forward. The opening story is laid in today's Mousehole; the tale that initiates and foreshadows action in the first tale occurs in a time and place that may also be Mousehole when fishing was its major activity. In both stories, the ancient dolmen, the Men-an-Tol, has an important part in the cI imax. Using available techniques distinctively is only a part of good author ship. Another part is to blend the imaginative creation of the story into a broader theme. de Lint's theme in The Little Country is the oneness of the universe, which he describes as the "harmonic vibration to which every el ement of the universe vibrated" (584). Goodness is being tuned to that har mony; evil, being in dissonance with it. "The magics of the world are far simpler than we make them out to be", he tells us several times. The book jacket quotes praises from, to name them as I remember them, Jane Yolen, Patricia McKillip, Andre Norton, Gordon R. Dickson, Julian May, Marion Zimmer Bradley, and Greg Bear. They all say it is an excellent book; should the reviewer disagree? Not when I enjoyed it, too. But only time, and re-reading, will tell me and other readers, whether it is the classic fantasy Dickson proclaims it to be. For now, read and enjoy! Paula M. Strain Fictional Version of a Saint's Life Desjarlais, John. The Throne of Tara. Wheaton, IL: Crossways Books, 1990, 249 p. $8.95. 0-89107-574-7. A lively and skillful historical novel, The Throne of Tara recreates the life of Columcille, or St. Columba, as he came to be known, the sixth-century Irish monk who was instrumental in converting Scotland to Christianity. From the beginning, his was a life of controversy; his father wanted the boy named Crimthann (WoIO and intended his son to be high king of Ireland. His mother, also of royal blood, dedicated him to the church and named him Colum (Dove). These two destinies struggled for fulfillment throughout Colum's life, taking him both to the altar and to the battlefield. He was in the thick of conflicts-not only tribal battles and church/state rivalries, but also the pivotal confrontation between Christianity and the druidic religion, miracles vs. magic. Adamnan's The Life of St. Columba is the primary source for this fiction alized treatment which adds some characters and motives but captures viv idly the sense of the times and customs of early Ireland. Colum is a dominating figure, given to visions and prophecies, but also plagued with an
48 SFRA Newsletter, 193, December 1991 impulsive temper that often drives him to ad vengefully. His vindictiveness is often justifiable, but being in the right does not alter the inevitable consequences. like most of us, Colum's prophetic powers work much more clearly on behalf of others. One minor quibble: I admire the writing style, but find it somewhat dis tracting. Descriptions are apt and vivid, but a bit too alliterative and reso nant for smooth reading. Otherwise an instructive and enjoyable work. Dale F. Martin Absorbing First Novel Gay, Anne. Mindsail. London: Macdonald Orbit, May, 1990.303 p. .95. 0-356-18806-X. Gay is the strongest and most talented of all the new British writers of SF. In this, her first novel, she tells the story of Tohalla, no longer a young woman, despised by her close-knit family for an inability to produce lots of children, who has to escape from her background and discover herself as a person before she can learn to achieve happiness. That makes it sound like a love story, which it is though only in part. The setting is an alien world inhabited by small groups of humans, mostly primitive and mostly warring, the several-generations-on results of a crashed colony ship. More important than this admittedly unoriginal type of background is what Gay does with it. She is a writer of ideas and a great, poetic stylist. Her descriptions are often beautiful, even if the beauty does occasionally inter fere with the message. She has the knack of creating believable societies in a few pages. Tohalla moves from her pastoral roots (the Green) to a strange, barren land (the Red), where she learns the story of a young girl, Marchidas, and on through pain and self-discovery to a more civilized community, where she discovers mindsailing. It's a complex and metaphorical tale, not always an easy read, yet absorbing and satisfying. Chris Morgan Male Writer-Female Protagonists Kelly, James Patrick. Heroines. Eugene, OR: Pulphouse Publishing, June 1990. 119 p. $4.95 pb; $25.00 hc; $50.00 signed leather. Author's Choice Monthly, Issue 9. Heroines contains four short stories and three poems, all previously published between 1983 and 1988 in either Asimov's or Fantasy and Science Fiction. The book also includes one heretofore unpublished poem as well as an introduction by the author in which he discusses his writing methods, his
SFRA Newsletter, 193, December 1991 49 views on feminism, and the stories themselves. In that essay Kelly relates the pleasure he felt upon discovering that the mother of one of his daughter's friends had read a story he'd published and assumed, without looking at the byline, that it was written by a woman. A committed feminist, Kelly, unlike most male authors, frequently tries to write from a female perspective and, in fact, selected the stories to be included in this collection because their protagonists are all sympathetically-drawn women. Two of the stories in Heroines are fantasies. "The Cruelest Month" con cerns Nell Cuneen, a hard-driving business woman whose life and marriage have both fallen apart since the accidental death of her daughter Avril. Nell is involved in a loveless and destructive affair with her therapist and has become so neurotic that she can barely function at work. Then Avril's bike, put away since her death, shows up in the hallway. Her dolls appear on the living room sofa. Something strange is happening and Nell finds that she must either pull herself together and face whatever it is, or fall apart completely. The oldest tale in the book and a fairly conventional ghost story, "The Cruelest Month" is, nonetheless a solid piece of work. A later fantasy, "The Last," is anything but conventional, however. It's the story of Hester Pickworth, last of the Pickworth family. Unable to leave the small New England town where she was born because of an ancient curse, Hester finds herself in the middle of a demonic invasion, led by a gigantic biker named Joe, a black man with an enormous radio; a junkie, and a bag lady-figures who seem symbolic of the evils of the big city life Hester can never have. The small-town characters in "The Last" are deftly drawn and stand in strong contrast to the evil invaders. "Crow," the first of the science fiction stories, involves two teenagers, Lucy and Juan, who live a nomadic existence among the dead towns of New England a decade or so after a bio-engineered plague has wiped out most of the human race. Eventually they run into Hannah, an eccentric, middle-aged woman bent on building a spaceship that will take her to the moon, where a human colony may still survive. Hannah tries to enlist them in her far fetched plan, but Lucy resists, partly out of sexual jealousy and partly out of a realization that the older woman is living in the dead past. "Faith," the final piece in the book, is a straight-forward love story. The title character, a recently divorced, middle-aged woman, meets and falls in love with a shy, poetry-writing horticulturalist whom, she later discovers, communicates tele pathically with his plants. In both "Crow" and "Faith" the science fictional content of the stories is minimal. What Kelly concentrates on, as he did in the two fantasies, is char acter development. With the exception of "Last," all of the stories center on relationships and the healing power they can exert. In "The Cruelest Month"
50 SFRA Newsletter, 193, December 1991 it is the very intensity of her love for her dead daughter that allows Nell to put her grief behind her. In "Crow" it is clear that Hannah's attempt to res urrect dead technology is doomed, and that Lucy and Juan must face the future on their own. Faith and her psychic horticulturalist can heal them selves only through their love for each other. Does James Patrick Kelly succeed in his attempt to write exclusively from a woman's viewpoint? It seems to me that he does, but female readers may disagree. I can't judge. Be that as it may, Kelly does succeed in creating believable characters and admi rable stories. He's definitely a writer to watch for in the 1990s. Michael M. Levy Suspenseful Novel Koontz, Dean R. The Bad Place. NY: Putnam, January 1990. 382 p. $19.95. 0-0-339-13498-0. The Bad Place, like many of Koontz's recent works, defies easy classi fication. It is clearly a cross-genre novel, demonstrating elements of romance, suspense, crime fiction, action-adventure, science fiction, and horror. It is one of Koontz's strengths that he can weld such disparate approaches so flawlessly that in a novel such as The Bad Place (as in the earlier Lightning. Watchers, Midnight and Strangers the seams become invisible. What remains is a unified narrative capable of riveting readers bringing multiple expecta tions to the novel. In addition, The Bad Place illustrates Koontz's willingness to take chances. Many of the characters will resonate for his long-time readers: the withdrawing, sensitive but competent male; the aggressive, passionate fe male; and the villain-in-spite-of-himself, driven by externals (in this instance the macabre circumstances of his birth and physical deformities) into em bracing a self-consuming internal evil. The Bad Place echoes "but does not simply recreate) Shadowfires, The Vision, Twilight Eyes, Whispers, and Watchers in characterization and plot; what is different here is Koontz's in clusion of a Downs' syndrome narrator-an innocent whose Christie func tion, in terms of narrative as well as of imagery, provides uniquely objective perceptions of goodness and evil. Koontz never allows himself to break the illusion of Thomas's limited verbal skills (in itself a stunning achievement), but at the same time, Thomas becomes the focus for pressures that lead to the final confrontation between heroes and villains. More critical, perhaps, is Koontz's ability to communicate difficult truths. Thomas is a strongly positive character; he is also unfairly limited physically and mentally. And he dies. Others less deserving of life do not; one of the most reprehensible characters has lived to a ripe old age, isolated in a world
SFRA Newsletter, 193, December 1991 51 of avarice and self-centered ness-as far as the novel lets us know, he sur vives. But Koontz manages to weave unpalatable truths into the web of his narrative, allowing each sacrifice, each unjustified success to blend chance, injustice, external forces, internal strengths, human love, and enduring hope into a brilliantly muted conclusion. There are additional touches as well: telepathy, teleportation, time-space dilation, and other science-fictional apparatus. There are monsters-physical as well as psychological. There are discussions of life and death, of good and evil. But ultimately the book is about people, about individuals who make differences in the I ives of others. His villains-as is so often the case in his later works-are as much tragic as they are to be hated or feared. Koontz's heroes are only marginally larger than his readers; they are recognizable, vulnerable, empathetic. They are tempered by their experiences and emerge stronger and more complete than before, with the courage to accept irreplaceable losses and continue striv ing for a dream. In this sense, The Bad Place provides an ideal transition between Koontz's earlier books, where the protagonists reach a form of stasis or withdrawal (as in Watchers. for example) and his subsequent Cold Fire (1991), which leaves open the possibility of continuing heroic action. Michael R. Collings History or Fantasy? Larsen, Jean. Bronze Mirror. New York: Henry Holt, 1991. 337 p. $19.95. 0-8050-1110-2. More a re-creation of China of a millennium ago than a fantasy, Bronze Mirror" intertwines two stories, one being told by the characters of the first. The second tale is the longer and more interesting, since it is laid in and around Lin-An during the Soong dynasty. The protagonists are Lady Phoe nix, her maid Pomegranate, and an antique bronze mirror. Other characters enter and leave the tale at the will of the several different narrators, all of whom shape their episode for their own purpose. Filial piety, love, betrayal, death, loyalty, disaster, bliss are all part of the tale. Reminiscent of the Judge Dee stories, it is as rich with the I ife and society of the time. No elements of fantasy enter this story; nor need they. There is color and action enough. Fantasy is a part of the tale that opens Bronze Mirror and explains the creation of the second story, told like the tales of Scheherazade, over a num ber of evenings to the Yellow Emperor, who with all his court exists out of time; all are immortal. The first narrators are the Silkweb Empress, currently estranged from her husband, and the emperor's chief minister, whose mo tive in challenging the empress is never clear. The tales told first to the em peror have only one thing in common-a pomegranate, but as the contest
52 SFRA Newsletter, 193, December 1991 continues into other evenings, the opening episodes interweave into one tale. Other narrators, as court intrigues impel them, join the contest to add their own incidents to the story. The long interest of emperor, empress, and court in the tale they created has a strange effect: as the book ends, they become mortal. Larsen has a strong sympathy for Chinese history and people, and in China's exotic differences from our more familiar traditions. She emphasizes this by her style, which is lyrical and evasive, hinting at meanings and sug gesting more than stating, as this random sampling of a paragraph shows: liThe leathery leaves of the lakeshore shrub rattle wildly in the high-pitched laughter of the wind. Lady Yuan-yu wraps her arms around her head. She doesn't care. She'll tell the emperor everything" (214). Her second novel Bronze Mirror differs from Silk Road, her first, but interestingly so. Jean Larsen is developing as a writer; will it be as a novelist of history or of fantasy? Paula M. Strain Distinctive Collection Levi, Primo. The Sixth Day and Other Tales. Translated by Raymond Rosenthal. Summit, 1990, 223 p. $18.95. 0-671-62617-5. The Sixth Day and Other Tales contains stories from two Italian collec tions: Storie naturaliwas originally published in 1966 under the pseudonym Damiano Malabaila; Vizio di forma was originally published in 1977. The contents page does not indicate which stories arc from which, but there is a marked shift of style and emphasis half way, which strongly suggests that the first eleven stories are from the 1966 collection and the remaining twelve from the 1977 collection. The earlier stories, which were presumably written while Levi was still managing a chemical factory in Turin, are mostly whimsical in tone and manner. They include a series which features a salesman named Simpson, whose job is to hawk the daringly innovative products of a company called NATCA, which include the Mimer (a matter-duplicator marketed as a new kind of photocopied and the kalometer (a device for measuring beauty). Simpson is eventually able to quit his job after pioneering the decoding of various insect languages, whose mastery allows his employers to begin making contracts with social insects to carry out various processes of manu facture too delicate for human hands. Alas, his plans for a happy retirement go somewhat awry because of his increasing dependence on the Torec (a device for recording and playing back subjective experiences). The combi nation of ironic tone and not-quite-absurd extrapolation featured in these
SFRA News/etter, 193, December 1991 53 delightful stories is strongly reminiscent of that featured in the column which David Jones writes for the British weekly New Scientist, which describes the possible applications of the projects undertaken by one Dedalus, an indefati gable R&D man employed by DREADCO. The earlier stories also include two darker accounts of imaginary research projects. In "Angelic Butterfly" a scientist who believes that human beings are neotenic after the fashion of the axolotl and have the latent ca pacity to mature into angels proves his case, but finds the result less inspir ing than he had hoped. In "Versamina" a chemical compound which converts painful sensations into pleasurable ones also fails to meet hopeful ex pectations when various applications are attempted. The more biting satire of the later stories is presaged in two one-act dramas: "The Sleeping Beauty in the Fridge: A Winter's Tale", which features a curious experiment in cryonics; and "The Sixth Day", which describes the deliberations of a com mittee of advisors to the Creator, whose attempts to make a proper job of planning Man become redundant when the impatient boss just goes ahead any old how. The second group of stories are mostly contes philosophiques which take a bleaker view of the way the world is headed. "Westward" describes a research programme which studies swarming lemmings in order to explore the chemical basis of the stubborn will to live (which the unfortunate rodents have supposedly lost), but sharply questions the utility of the discovery when it is finally made. "Small Red Lights" briefly but very effectively studies the erosion of human freedom by social prohibitions. "Excellent is the Water" is a parable in the form of a disaster story, in which the waters of the earth fall prey to a polywater-like infection. "For a Good Purpose" describes the achievement of self-awareness of the European telephone exchange, and the subsequent sad career of the resultant individual. "The Servant" is a deso late updating of the traditional story of the golem. "His Own Blacksmith; To Italo Calvino" is a story after the manner of Calvino's Cosmicomics, giving a more cynical twist to the surreality. The counterpart here to "The Sixth Day" is "The Hard-Sellers", in which a team of highly-trained salesmen try to talk an unborn soul into an incarnation on earth, and find the integrity of their victim resistant to their slyly tempting offers to discount the risks in volved. The Sixth Day, taken as a whole, is a magnificent collection, distinctive despite its obvious links to the Italian tradition of sciencefictional contes philosophiques established and carried forward by Calvino and Dino Buzzati. As befits the work of a professional scientist, the scientific premises upon which many of the stories are based are more ingenious than those used by Calvino and B'uzzati, but-as perhaps befits the work of a survivor
54 SFRA Newsletter, 193, December 1991 of Auschwitz-there is no compensatory blurring of skeptical perspective or weakening of philosophical acuity. To produce stories which are fun to read while providing such ample food for thought is difficult in the extreme, and this slim collection provides as much evidence of Levi's greatness as a writer as any of his other works. The majority of its contents are more authentically sciencefictional than the scientifically inspired contes philosophiques of Calvino and Borges, and it certainly deserves to be reckoned the best science fiction collection published in English in 1990; it is unfortunate that we have had to wait so long for a translation. Brian Stableford Magical Tales Lynn, Elizabeth A. Tales from a Vanished Country. Eugene, OR: Pulphouse Publishing, July 1990. 109 p. $4.95 pb, $25.00 hc, $50.00 signed leather he. Author's Choice Monthly, Issue 10. Elizabeth Lynn is one of those wonderful science fiction and fantasy writers who got their start in the early to mid-1970's, blossomed in the late 70's and early 80's, and then pretty much disappeared from the genre. Writ ers like lynn, Lisa Tuttle, George R.R. Martin, Edward Bryant, and John Varley still produce the occasional short story, but, for the most part, as far as their writing goes, they have chosen to turn elsewhere, to horror fiction, perhaps, or television. Whether this is a because they ran out of ideas, or because they found a better way to make a living, or because they felt stifled by the limitations of genre publishing, I don't know, but their virtual exodus from the field has always seemed to me to be one of the great tragedies of contemporary science fiction. We have the old timers such as an Asimov or an Aldis, and we have the young turks such as a Gibson or a Willis, but an entire in-between generation of talented writers has virtually disappeared. Thus, the publication of any new work by Elizabeth A. Lynn is cause for rejoicing. Tales from a Vanished Country contains three of Lynn's fantasies set in the land of Ryoka, two reprints and one original story. The novella "Wizard's Domain," which first appeared in the 1980 anthology Basilisk, is a compelling tale of friendship betrayed, second chances, and forgiveness. In the eastern counties of Ryoka the wizard Seramir Firelord has become corrupted by his desire for power and has used his magic to devastate the land. Only the wizard Shea Sealord has the ability to defeat Seramir, but he can't do it without the aid of Rhune, the former master of his fleet, who has been imprisoned beneath the ocean's surface ever since he betrayed Shea. "The Woman who Loved the Moon," was originally published in the 1981 anthology Amazons. Written in high, fairy tale style, it tell s the story of three
SFRA Newsletter, 193, December 1991 55 beautiful warrior sisters who do battle with Sedi, goddess of the moon. The first two sisters die at the goddess's hands, but the third, Kai Talvela, bent on revenge, defeats the moon and then becomes her lover. The third tale from a vanished country, "The Red Hawk," is new, and proves conclusively that Lynn has lost none of her skill. It concerns Tekkele, a reclusive astronomer, who is given temporary control of the winds by Tukalina, the Black Goddess, while that deity goes on vacation to visit her daughter Sedi. Tekkele proves faithful to her charge, but Tukalina's son, the worthless god Vaikkenen, is jealous of his mother's faith in her. Vaikkenen first seduces the astronomer and then steals the magical Cloak of Storms that the goddess has given her to control the winds. As one would expect in such a tale, Tekkele bears children who are not entirely human, Vaikkenen mis places the Cloak, the winds get out of control, and all hell breaks loose. Like "The Woman Who Loved the Moon," "The Red Hawk" is written in a mannered, fairytale style. Few fantasy writers can produce such elevated prose without sounding silly, but Lynn succeeds admirably. High fantasy frequently leaves me cold. Perhaps I read too much of it in my misguided youth. Elizabeth Lynn, however, has always managed to bring a breath of originality to the genre and I've really missed her work. I'd like to see more of it. Michael M. Levy Dark and Menacing Vision Miller, Rex. Slice. NY: Onyx, May 1990. 317 p. $4.50.0-451-40194-8. Miller's works show an energetic, often frenetic pacing; stylistic explo rations that match words to narrative movement; and a vision as dark and menacing in its heroes as in its villains. This return to the haunted world of homicide detective Jack Eichord illustrates Miller's strengths of imagination and style. As an investigator of serial murders, Eichord embodies Miller's anatomy of deeply disturbed psyches and more deeply disturbing violence, particularly as he matches wits with the sociopathic Daniel Edward Flowers "Chaingang" Bunkowski. Beginning with Chaingang's almost literal resurrection, his ascent from the sewers of Chicago and return to the living (along the way slaughtering a few and eating their hearts), Miller parallels Eichord's gradual involvement in Bunkowski's newest sequence of horrors with Chaingang's methodical preparations for revenge on Eichord. Intercut chapters provide glimpses into the lives and psychologies of these two men and of the people whose lives intersect with theirs.
56 SFRA Newsletter, 193, December 1991 Unfortunately, the central portions of Slice do not quite match the nar rative energy of Slob or Stone Shadow. The novel becomes an exercise in death; little happens narratively for almost nine months, except for Miller's disquieting recreation of the serial killer's lust for blood. The result is perhaps accurate psychologically-a nerve-numbing sequence of arbitrary and graphically perverse murders-but after a few samples of Chaingang's vi ciousness, the reader may wish that the novel would move more directly to a confrontation between the old enemies. That confrontation itself seems static. Chaingang has altered (although the change seems unduly abrupt and never quite credible), as has Eichord through his relationship with his barren wife (a near victim in Stone Shadow; their final meeting is ambivalent until a Ninja-type character appears, dis patches his prey and disappears. While related to a sub-plot, the Ninja func tions as deus ex machina in this novel-presumably to allow Eichord to re main innocent of shedding Chaingang's blood. The odd triad of Eichord, his wife, and Chaingang's newborn son in the final pages suggests more than anything the uneasy shifting of psychological states in Slice. Chaingang seems definitively dead at last, but none of the other resolutions quite fit the world Miller described at the beginning of the novel. Characters have altered too radically, too quickly; other characters have acted abruptly; and even the suggestion of Eichord as adoptive father to Chaingang's newborn is viscer ally chilling. Michael R. Collings [An earlier version of this review appeared in Mystery Scene.) The Final Threads of Pern McCaffrey, Anne. All the Weyrs of Pem. NY: Ballantine Del Rey, Decem ber, 1991. 404 p. $20.0-345-36892-4. A novella about dragon-riders and dragons led off a 1967 issue of Ana log twenty-four years ago and created a group of fans whose demands have resulted in eleven full-length books and a few shorter stories. The Analog story, and the full-length book Oragonflight that it expanded to, were sci ence-fiction though the science (bio-engineered dragons, spores from space, a planet with an eccentric orbit, etc.) was so discreetly buried many readers overlooked it. The books that followed concentrated more on what the read ers wanted-the history of the colony on Pern and, especially on the drag ons and their riders of the latest generation to fight Thread, that blight from interstellar space. Now, in what McCaffrey apparently hopes will be the last of the series, she writes obvious science-fiction.
SFRA Newsletter, 193, December 1991 57 Science and technology are at the forefront of the story throughout the book. The opening lines of All the Weyrs of Pern are about AIVAS (Artifi ciallntelligence Voice-Activated System), which we met on the last pages of The Renegades of Perno AIVAS is constantly on stage until the next to last page of the story. The plot is a standard one-how technology is recovered by a society regressed to a lower level by disaster, but that won't matter to McCaffrey's fans. She has put all the favorite characters of earlier books on stage-Jaxom and his white dragon Ruth, F'lar and Lessa, Menolly, Sebell, Piemur and Robinton. Lesser characters, D'ram, Lytol, Mirrim, Fandarel, and others play their parts as well. Readers will like the book; it is McCaffrey at her best. Whether they will be satisfied with the evident completion of the tale of Pem remains to be seen. Conan Doyle had to recover Sherlock Holmes from Reichenbach Falls to please his readers. Paula M. Strain A Second View The latest in the Pern installment is an exciting read indeed. When last we left Pern, the inhabitants had just discovered a computer-AIVAS-that could give them information about their ancestors, Pern's colonizers. In All the Weyrs of Pern, AIVAS's function-to help destroy Thread forever-is car ried out after a 2,400-year delay. AIVAS plans to knock the Red Star out of its orbit through some well-timed explosions. Before his plan can be imple mented, some of Pern's inhabitants have to learn not only how to work computers, but also the rudiments of physics, chemistry, biology, glassmaking, plastic-making, and so on. The dragons are crucial to the plan-especially Jaxom's Ruth, whose ability to always know when and where he is is of pri mary importance. The dragons, who can survive about fifteen minutes with out oxygen, become mini-spaceships. Though all the Weyrs of Pern unite to carry out this common function, AIVAS's presence is not well-liked by those too hide-bound to appreciate the wealth of new technology given them. There are plots to destroy AIVAS; plots to kidnap Masterharper Robinton; plots to kill Jaxom. Those forward looking enough to appreciate what AIVAS can teach them send their children and dragonriders to learn from what some people have taken to calling "the Abomination." The story culminates with a trip to the Red Star to plant the charges. The dragons (who are able to carry "as much as they think they can") carry mat ter-antimatter engines set to explode to the surface of the Red Star, with their space-suited riders guiding them. Jaxom and Ruth have to perform a dan-
58 SFRA Newsletter, 193, December 1991 gerous secret function on the Red Star in order for the plan to succeed. Did they annihilate Thread once and for all, as F'lar had dedicated his life to doing? AIVAS says so, though Thread will still fall this Pass. This addition to the series is a good one. McCaffrey pulls information, events, people-phenomena from her previous books and puts it to new use here; for example, we learn why there were two long Intervals in the re corded history of Perno Some events from Dragonsdawn and the Dragonrider trilogy are referred to also; I recommend reading all her Pern books before picking this one up; the book will then make a lot more sense. There is no glossary of terms or list of characters in this book. There are also lots and lots of characters, whom I stopped keeping straight about halfway through the book, though most main characters appeared in her previous books. For Pern fans (who would rather be on Pern than here on Earth) this is a must read. Karen Hellekson Controversy and Theology Morrow, James. Swatting at the Cosmos. Eugene, OR: Pulphouse Publish ing, May 1990. 107 p. $4.95; $25 hc; $50-00 signed leather. Author's Choice Monthly, Issue 8. Although James Morrow has produced conventional science fiction on occasion, what he's really interested in is writing about religion. Both of his Nebula Award-nominated novels, This Is the Way the World Ends (1986) and Only Begotten Daughter (1 990), are theological fantasies, as are the majority of the stories in this superb new collection from Pulphouse Publish ing. Swatting at the Cosmos begins with an introduction in which the author briefly discusses the stories and his reasons for writing them. It seems clear that Morrow has high literary ambitions and that he enjoys stirring up con tro'<'!rsy. His "Bible Stories for Adults" series, he says, may well be offensive to some, but he "hasten(s) to point out that we humanists can be hurt too. The concept of Original Sin, for example, offends me to the core." Not content to merely attack traditional religion, Morrow also goes after some of science fiction's holiest icons. He labels Heinlein's famous dictum about never rewriting except at an editor's request "ridiculous" and insists that Theodore Sturgeon's assertion that ninety percent of everything is crap is both IIfalse and annoying." People who quote these statements, Morrow says, should be beaten up.
SFRA News/etter, 193, December 1991 59 The volume contains three of the author's "Bible Stories for Adults," the only ones he has written so far, despite the fact that they're numbered 17, 20, and 31. The previously published "No. 17: The Deluge," a Nebula Award-winner, describes the chaos that occurs when a young woman named Sheila, refusing to be drowned with everyone else, takes to the flood in a canoe and is eventually picked up by Noah's ark. "No. 31 : The Covenant" involves the temptation of a computer named YHWH by another computer named SATAN. "No. 20: The Tower," which apparently appears here for the first time, envisions a God who lives in a penthouse atop what may very well be Trump Tower. Also contained in Swatting at the Cosmos are "The Assemblage of Kristin," in which a group of people, all of whom have received transplants from the body of one dead woman, find themselves drawn to each other irresistibly; "The Eye that Never Blinks," which combines the old fairytale idea of the wish-granting fish with modern cloning techniques; "The Confes sions of Ebenezer Scrooge," which explains why the world would have been better off if Dickens' character had never met the various Christmas ghosts and had stayed his miserly, petty self; and "Spelling God with the Wrong Blocks," in which a pair of science missionaries meet their match on a planet where the android population has taken On the Origin of the Species for its bible. In summary, this is a delightful, witty, and sometimes wicked short story collection, just the thing to upset the bookburners, confuse readers of Analog, and make the self-righteous froth at the mouth. Strongly recommended. Michael M. Levy Sequel to Niven's Retrospective Niven,Larry. Playgrounds of the Mind. NY: Tor, October 1991. $22.95 487 p. 0-312-85219-3. Playgrounds of the Mind is the "sequel" to N-Space, the Niven retrospec tive. This is much like its predecessor, only it covers the last half of Niven's career. Niven wrote vignettes introducing each work, valuable for the insight they give into his own work. There are cuttings from some of his novelsLegacy of Heorot, which he wrote with Jerry Pournelle and Steven Barnes; Footfall, written with Pournelle; and The Ringworld Engineers, to name a few. Then there's stuff like "Unfinished Story," half a page long, and "Big ger Than Worlds," with illustrative diagrams of a ringworld and Dyson spheres. The whole has a casual, breezy style enjoyable to read. The problem: there is no acknowledgement page, so I couldn't tell what had been published before, or where, or when. A good corpsicle story,
60 SFRA Newsletter, 193, December 1991 "Rammer," looked completed and polished-but where had it been pub lished? Or hadn't it? The jacket cover promised both published and unpub lished stories; I just don't know which are which. Also, N-Space had a list of Niven's works; nothing like that appears in Playgrounds of the Mind. This is more of the same: excerpts from novels (that fail to do justice to the nov els themselves, though it's interesting to see what parts Niven liked best), short stories, essays. Pick it up if you are a tried and true Niven fan. Karen Hellekson Comic Potential Nye, Jody lynn. Mythology 101. NY: Popular library (Quester), February 1990. $4.95. 264 p. 0-445-21021-4. Keith Doyle, engagingly maverick college student, seems about to fail Sociology 430. His interests in alien contact (and his paper discussing the impact of Western cultures on other societies) are seen by his professor as irrelevant fantasy. Deep under the old college library, a town full of elves see:71S in danger of dispossession. Fortunately, the Elf Master runs a tutor ing course which selected humans are allowed to attend; equally fortunately, Keith Doyle has a marketing background. The combination of stubborn student and displaced elves has comic potential which Nye usually handles well; the interaction between Keith and other students seems realistic, though sketchily developed. Elf magic comes across as unusually feeble, the Elf Master as predictably testy, and many of the other characters (including Keith) as slightly dense. Unfortunately, this is required for the plot to work. The writing also seems uneven. Some passages show a high level of com'petence, while others (some immediately following) read much less smoothly, may repeat information given more elegantly in the previous pas sage, or even contain apparent contradictions; the final editing was clearly too casual. Overall, Mythology 101 is a slight but generally cheerful con tribution to the growing literature of little People Abroad. Martha A. Bartter Clone on the Range Ore, Rebecca. The Illegal Rebirth of Billy the Kid. NY: Tor, March 1991.314 p. $3.95. 0-812-50672-3. I'm not usually impressed by bookcover blurbs, but Gregory Benford's comparison of Rebecca Ore to Robert Sheckley on the cover of The Illegal Rebirth of Billy the Kid is right on the mark. Ore's slightly skewed version of reality, her zest for life, her odd combination of dry humor and moral seri-
SFRA Newsletter, 193, December 1991 61 ousness, and her tendency towards sentimentality, are all reminiscent of Sheckley at his best. The author's earlier trilogy, Becoming Alien (1988), Being Alien (1989) and Human to Human (1990), combined an unlikely, almost 1930's space-cadet plot, with inter-species sex, high-level diplomacy, and some of the best-realized aliens in recent memory. Now, in Billy the Kid, Ore brings together yet another group of unlikely elements, including twenty first century hippies, a famous gunslinger recreated out of dog meat and human DNA, more inter-species sex, and, would you believe, heroic secret agents from the SPCA. Simon Boyle, the villain of the book, is a genetic engineer, a maker of chimeras, human simulacra created, primarily, to act as secret agents for the CIA and, secondarily, to become the often-abused playthings of the superrich. For Boyle and his fellow geneticists almost anything is possible. For example, chimeras can be created that look like famous historical person ages, world leaders who need replacing, or creatures out of folklore. Since their primary biological makeup is not human, chimeras have no legal rights, though their use is carefully governed by law. It is illegal, for example, to make a chimera who replicates the personality of a former criminal. Simon Boyle, however, has broken the law by making Billy the Kid. Boyle's creature firmly believes himself to be the Kid, and, under his creator's direction, acts out the last months of the outlaw's life over and over again. Rich women pay Boyle enormous sums of money to sleep with 'Billy' just before he is to be gunned down by Pat Garrett. The geneticist, disguised as Garrett, then 'kills' the chimera, only to revive him later for another performance. Boyle has himself a neat little money-making racket until one of his wealthy customers first steals the chimera and then lets Billy get away. Con fused, unable to resolve the conflict between the world around him and the nineteenth century world he has been programed to see, Billy ends up in an SPCA-run shelter for abandoned and abused chimeras. There he meets a disgruntled young SPCA employee, Jane Ayers. Eventually the two of them find themselves on the run from Boyle, the CIA, and, possibly, agents of both the Russian and Mexican governments. What makes the book work is the skill with which Ore handles Billy's gradual transformation from one-dimensional puppet to thinking being. As the chimera slowly overcomes his programing, we realize that he is much more than the mere organic robot SOCiety claims him to be. By the end of the book he's still far from perfect, but he has gained a legitimate claim to full humanity. If the novel has a fault, however, it lies in Ore's decision to concentrate entirely on Billy's development rather than on the larger issues involved. Are legal rights to be limited exclusively to human beings? Can a non-human, thinking being have a soul? Forget about the possibility of aliens from outer space or even artificial intelligence. We already live in a world where gorillas
62 SFRA Newsletter, 193, December 1991 speak fluent sign language and sport IQ's greater than those of some of the children currently being mainstreamed in our inner-city public schools. It seems to me that more sf writers need to give serious consideration to the legal rights of nonhuman, but intelligent life forms. I'm quibbling though. The Illegal Rebirth of Billy the Kid is an excellent novel, one that should add considerably to Rebecca Ore's growing reputa tion. Look for it. Michael M. Levy Psychological Thriller Priest, Christopher. The Quiet Woman. London: Bloomsbury, March 1990. 216 p. .99. 0-7475-0587-X. Here Priest continues with the subtlety of narration and the ambiguity of genre which characterized his two previous novels, The Affirmation and The Glamour. A middle-aged author, Alice Stockton, seems to be the victim of a security cover-up. Her latest book, a biography of six women, has been seized by faceless bureaucrats at the Home Office for uncertain reasons and she is powerless to appeal against the decision; she cannot even discover who has made the order or on what grounds; she is not allowed to keep a copy of the book. At about the same time, her neighbour and best friend (an older woman, Eleanor Hamilton) in the Wiltshire village where she lives alone (except for a cat) has been found dead, apparently murdered. Eleanor's son attends her funeral-except that Eleanor had never mentioned a son and he seems to hate her; certainly Alice takes an instant dislike to him. This is a psychological thriller, tense and fast-moving. It contains ele ments of SF in its background-pollution of some of southern England by a French Chernobyl-type accident and enough small differences to make one believe that it's set in an alternate world. But can (or should) the reader believe ev erything that appears to happen? At least some of the events are the subjec tive fantasies of one of the characters. Brilliantly constructed, it provides a clever and fascinating read with much food for thought. Chris Morgan The Prince Becomes a Star Rawn, Melanie. Stronghold. NY: DAW, November 1990,487 p. $21.95. 0-88677-400-3; September 1991,587 p. $5.99. -482-9. First volumes in trilogies have embedded within them the possibility that there will be mass confusion both at beginning and end. Not only does it generally take a long time to develop the characters and to create the setting,
SFRA Newsletter, 193, December 1991 63 the writer knows there are two more volumes in which any loose ends can be resolved. Stronghold doesn't have the first problem for, while it is first in the Dragon Star trilogy, it chronologically follows the Dragon Prince trilogy. There the multitudinous characters had been already introduced, the setting established, and the high fantasy conflict between good and evil developed. This is not to say that it would be an absolute requirement to have read the first trilogy before beginning Stronghold, but undeniably the full effect of Lord Rohan's present tragedy would be thus enhanced. When the Dragon Prince trilogy had concluded, the land was essentially peaceful. The science of medicine was developing; technology was rapidly improving living conditions; and Lord Rohan's highest achievement, the written Law, had restructured many aspects of life in the realm. Now, how ever, as the second trilogy begins, Rohan and his Sunrunner wife, Sioned, are growing old. They worry not only about their son Poll's ability to rule but whether he will choose to revert to force when he and his cousin Andry, Lord of Goddess Keep, vie for the people's loyalty. After having expended his energy on building and advancing his world, Rohan now watches the begin nings of a return to barbarism, religious fanaticism, and superstition-all of which can be attributed to his having allowed Andry to remain Lord of God dess Keep-Andry who is willing to use any means to prevent the horrible visions in his dreams from becoming fact. Andry, who unethically uses the Star Scroll, creates meaningless rituals for everyday tasks, destroys all other sorcerers through his use of sorcerers' magic and not only Sun magic but Star magic as well. Worst, in spite of his original good intentions, Andry begins to enjoy his increased power. Thus, Melanie Rawn has added great depth to her "Dragon" series: the first three books demoostrated a civilizing process; the first of this current trilogy appears to reveal a civilization devolving. From this view, Lord Rohan is almost a tragic hero. But, she offers few clues to where the trilogy will go. To the multitudinous characters in the earlier volumes of the series, more are introduced or gain prominence here. [The list of characters and the genealogy appended are most welcome.) The most interesting new people are the desert nomads under the leadership of Kazander, who will probably highlight one of the remaining volumes, for Andry's visions of destruction become reality with the incursion of barbaric invaders who destroy everything as they move inward towards the desert and Stronghold. Stronghold concludes with the return to the sword-but with innumer able loose ends. Will High Prince Pol, now unofficial head of the realm, hew to the high ideals of his parents? Can he, son of a Sunrunner and a Sorcerer, stem the return to barbarism? Will he unseat Andry? And by what means? Will there be a much to be desired emphasis on Poll's ability to communicate telepathically with his dragon?
64 SFRA Newsletter, 193, December 1991 like Anne McCaffrey's Pern series, Melanie Rawn's Dragon Star and Dragon Prince trilogies have a pseudo-medieval setting, dangers, and drag ons. More than McCaffrey, Rawn introduces a multiplicity of three dimen sional characters, develops multilayered plots, and focuses strongly on hu man relationships. The first trilogy was only in paperback. The paperback Stronghold appeared ten months after the hardcover. I fully expect fan gro'_ps to emerge honoring this exciting generational fantasy. Jennifer Wells Light Entertainment Steele, Allen. Clarke County, Space. NY: Ace Books, December, 1990. 231 P $4.50. 0-441-11044-4. Take a Mafia Don, his mistress (who has absconded with his data disks containing stolen nuclear missile codes), the FBI, a Mafia hit man, an Am erind cop, the Church of Elvis, a time-traveler, and a mysterious provocateur: mix well with a large group of tourists and incidental characters, and stir them into a laGrange colony preparing to secede from the US. The result is a fast-paced story well-based in space technology. The plot is not a deep one; it's no great challenge to figure out who Blind Boy Grunt is, nor what's on the data disks. On the other hand, the back grounds are well-drawn and the technical aspects are convincing. Overall, it's an entertaining story and very good for a second novel. Steele is an author to watch. W.O. Stevens Complex Vision Straub, Peter. Houses Without Doors. New York: Dutton, 1990. 358 p. $19.95.0-525-24924-9. The six longer stories in Houses Without Doors, along with six short interludes, recreate the lives of characters trapped in worlds they can neither understand nor escape. Readable as independent stories, the tales nonethe less suggest a larger structure defining complex permutations on reality and illusion. Straub's prose becomes correspondingly elusive; the collection begins with a meticulously detailed treatment of the life and sufferings of the young Harry Beevers (who appears as an adult in Koko), and culminates in the waking nightmare of William Standish. His characters' worlds likewise become increasingly surrealistic. "The Blue Rose" anatomizes the effect of
.5FRA Newsletter, 193, December 1991 65 unhealthy familial and social relations on a profoundly disturbed child. "The Juniper Tree" fragments story and structure to suggest the fragmented psyche of an abused child, using film as narrative device and as metaphor. "The Buffalo Hunter" excises its character from external reality, as Bob Bunting loses himself-literally-in words. Finally, the self-absorbed and preoccu pied scholar of "Mrs. God" immerses himself in a shadowland where past and present, reality and dream, memory and thought can no longer be defined. Cerebral, abstract, often symbolic and difficult, just as often highly lit erary and frustratingly allusive, the novellas testify to Straub's mastery of substance and style. Never easy, rarely straightforward, the stories impel the reader into worlds of distorted vision and imagination, and of violence and death. Michael R. Collings [An earlier version of this review appeared in Mystery Scene.) Beowulf from Three Perspectives Swearer, Randolph,. Raymond Oliver and Marijane Osborn. Beowulf: A Likeness. New Haven, 0: Yale Univ. Press, 1990. 127 p. $39.95. 0-30004876-9. I was prepared to like this book. It incorporates three subjects in which I have a passionate interest: Beowulf, translation, and photography. The concept is intriguing. The team of creators actually offers a three-part "like ness" of Beowulf: one through a new translation into modern English, the second through new episodes added to the text where the "silence" of the original invites completion, and the third through a photographic essay. The results are interesting, but my high expectations were disappointed. The translation, into clear and often forceful English, offers the book's greatest pleasure. The other two elements did little more than make me wish for another group of writers/photographers to attempt the same project from a more imaginative perspective. The added episodes lack narrative power. The photographs are, well, prosaic: pictures of landscapes and artifacts where the introduction led me to expect visual equivalents (that is, translations of Beowulf's verbal images of the verbal text into visual images that seek to evoke similar esthetic response). A commendable effort, a partial success. Dennis M. Kratz
66 SFRA Newsletter, 193, December 1991 Paleolithic Myth Thomas, Elizabeth Marshall. The Animal Wife. Boston: Houghton Mifflin Co., 1990. 289 p. $19.95. 0-395-52453-9. Elizabeth Marshall Thomas's new novel, a companion to Reindeer Moon (1987), is another absorbing tale of Paleolithic Siberia. It takes as its inspi ration the story of the animal wife, found in many cultures: a man marries a woman who is actually an animal in disguise; she leaves him. The novel's narrator is Kori, son of Swift, the shaman and herdsman of Reindeer Moon's tribe of mammoth hunters. The book deals with Kori's growth as a hunter and his inability to deal successfully with women, who fascinate but mystify him. While hunting one day Kori sees a woman from an unfamiliar tribe, and because she is swimming-a practice unknown to him-he mistakes her for an animal. He decides to abduct her and make her his wife. Her language and ways are strange to him: she makes love differ ently, and enjoys it; she hunts with arrows and uses snowshoes, and follows different social and religious customs--but he grows to love her. When their son is born, Muskrat (as Kori has named her) makes a magic bundle which includes her son's umbilical cord to secure his future success as a hunter, according to the beliefs of her people. This shames Kori, who finds the prac tice alien and distasteful, and he destroys the bundle. Muskrat leaves him, taking her son back to her own people. Though Kori loses his beloved uncle in a skirmish with Muskrat's people, and deeply feels the loss of his wife and son, he takes up his place in the tribe, and life goes on. The major strength ofThomas's novels is in the wealth of anthropologi cal detail she provides. We learn what the tribe ate, how they clothed them selves, arranged and dissolved marriages, how they hunted and what they gathered. But The Animal Wife has a narrative force and strong characters, too. Scenes of hunting mammoth and deer are suspenseful as well as infor mative; the characters are individual personalities we come to care about. The Animal Wife is nearly as good as the award winning Reindeer Moon, though it lacks the earlier novel's mythic dimension and some of its poi gnancy. Kori's life is more ordinary than Yanan's (in Reindeer Moon), but this new view of ancient tribal life in an unforgiving environment is absorb ing none the less. However, The Animal Wife is not a fantasy. Perhaps Thomas's next novel, which will be written from the point of view of an animal, will be a fantasy. Laurel Anderson Tryforos
SFRA Newsletter, 193, December 1991 INDEX TO BOOK REVIEWS IN THE SFRA NEWSLETTER, 1991 184:jan/Feb 185:Mar 186:Apr 187:May 188:jun 189:jul/ Aug 190:Sep 191 :Oct 192:Nov 193:Dec AUTHOR INDEX Adkins, Sons of Titans (Riggs) / 187 Aickman, Unsettled Dust (Morgan, C) / 193 Alderman, Archivist (Morgan, C) / 186 Aldiss, Last Orders (Ruddick) / 184 Allen, Ring of Charon (Stevens) / 193 Amano, Art of Yoshitaka Amano: Hiten. (Stevens) / 190 67 Andersen, Diaries of H. C. Andersen trans. Conroy & Rossel (Herrin) / 187 Anderson, Poul, Space Folk (Stevens) /184 Anderson, Joan, Harry's Helicopter (Sherman) / 189 Anderson, Kevin, Game's End (Mallen) / 188 _____ ---', Game's End (Smith, B) / 188 _____ ---', Gamearth (Mallet) / 188 _____ -', Gameplay (Mallen) / 1 88 Anderson, Kevin, & Beason, Lifeline (Werbaneth) / 190 Anderson, Mark, ed., Reading Kafka (Taormina) /188 Andrew, Mask of the Prophet (Hal\) / 186 Anthony, Piers & Fuentes, Roberto, Dead Morn (Collings) /192 Anthony, Piers, Phaze Doubt (Collings) /190 April, Berlin-Bangkok (Lehman) / 191 Armitt, Where No Man Has Gone Before (Kramer) /191 Arnason, Woman of the Iron People (Sanders) / 190 Aronica, et ai, Full Spectrum 2 (Larrier) / 186 Ash, Stalking Horse (Sherman) / 187 Ashley, ed., Pendragon Chronicles (Werbaneth) /191 Asimov, Robot Visions (West) /192 Atack, Piece of Blue Sky (Elms) / 188
68 SFRA Newsletter, 193, December 1991 Bailey, Night Watch (Smith, P) /188 Baker, 'Brave New World': History, Science, & Dystopia (Latham) / 188 Baldick, In Frankenstein's Shadow (Williams) / 186 Barfield, Owen Barfield on C.S. Lewis (Collings) /191 Barker, Clive Barker: Illustrator (Dziemianowicz) / 189 Bar!ow, Expedition (Hicks) / 188 Barrett, Neal, Dawn's Uncertain Light (Stevens) /185 Barrett, David, ed., Digital Dreams (Morgan, C) / 193 Barthelme, The King (Carper) /191 Baum, Dorothy of Oz (de Wit) / 187 Bear, Heads (Hellekson) /191 Beckwith, Lovecraft's Providence & Adjacent Parts (Moore) / 185 Bedard, Redwork (Nilo) /191 Behrends, Clark Ashton Smith (Sanders) / 185 Behrendt, Approaches to Teaching Shelley's Frankenstein (Williams) /188 Bell, Clare, Ratha and Thistle-chaser (Hui) /187 Bell, M. Shayne, Nicoji (Collings) /192 Bell, Margaret, Shadow Gate (Strain) / 192 Benford & Greenberg, What Might Have Been (Collins, W) /187 Bennett, Cordwainer Smith Checklist (Elms) / 192 Benton, Illustrated History of Horror Comics (Stevens) / 193 Bishop, ed., Nebula Awards 24: SFWA's Choices for 1988 (Bartter) /193 Bisson, Voyage to the Red Planet (Levy) / 185 Blackwelder, A Tolkien Thesaurus (Sam Gamgee) / 186 Blackwood, Beyond the Door (Pagliaroli) /191 Blair, Landscape of Darkness (Brizzi) /191 Blake, Interior Life (Arbur) / 187 Blakeney, Requiem for Anthi (Hassler) /187 Blanche & Miller, Ratspike (Liberty) / 186 Bleiler, Richard, Annotated Index to Thrill Book (Barron) /192 Bleiler, Everett, Science Fiction: Early Years (Barron) /189 Bloch & Norton, Jekyll Legacy (Arbur) / 185 Bloch, Psycho House (Villano) /189 Bode, Diary Sketchbook, Books 1 and 2 (Stevens) / 1 89 Boos & Silver, Socialism & Literary Artistry of William Morris (Ruddick) / 186 Boos, Design of Morris's 'Earthly Paradise' (MacDonald) /190 Bouchard, Les Gelules Utopiques (Lehman) / 185 Bova, Best of the Nebulas (Carper) /184 Bowe, Life and Work of Harry Clarke (Albert) / 189 Bowkett, Dualists (Morgan, P) / 186 Boyer, Dragon's Carbuncle (Larrier) / 184
SFRA Newsletter, 193, December 1991 Boyll, Darkman (Klossner) / 188 Bradfield, Secret Life of Houses (Morgan, P) / 186 Bradford, Tender Prey (Boyle) /192 Brosnan, War of the Sky Lords (Morgan, P) / 192 69 Brown & Contento, eds., SF, Fantasy, & Horror: 1990; a bibliography (Barron) / 192 Brust, Cowboy Feng's Space Bar and Grille (Trammell) / 187 ;Bryant, Neon Twilight (Levy) /192 iBudd, Cabinet of Dr. Caligari (Dziemianowicz) /189 :Burgess, Work of Dean Ing (Taormina) /193 ;Burke, Dark Man: Robert E. Howard Studies (Collins, W) /184 Burleson, Lovecraft: Disturbing the Universe (Guzzetta) / 1 88 Byfield, Witches of the Mind (Co"ins, R) /191 'Cabral, Ciruelo (Stevens) / 189 Cannaday, Bigger Than Life; Creator of Doc Savage (Lewis) /186 Cannon, Sunset Terrace Imagery in Lovecraft (Co"ins, W) /184 Caraker, Faces of Ceti (Strain) /191 Card, Folk of the Fringe (Heldreth, L) / 184 --' How to Write Science Fiction and Fantasy (Smith, S) / 185 Carpenter, Secret Gardens, Golden Age of Children's Lit. (Sullivan) /192 Carroll, Philosophy of Horror (Heldreth) / 187 Cederstrom, Jungian Patterns in Lessing (Wall) / 190 Chalker, Songs of the Dancing Gods, 4 (Runk) / 188 Cherryh, Heavy Time (Hellekson) / 1 89 Citati, Kafka (Taormina) /188 Clagett, Friedkin: Films of Aberration, Obsession and Reality (Collings) /187 Clareson, Understanding Contemporary American SF, 1926-1970 (Co"ins, R) / 184 Clark, Lewis Carroll (Collins, R) /190 Clarke, Arthur, Astounding Days: SF Autobiography (Stevens) / 184 Clarke, J. Brian, The Expediter (Hollinger) /184 Cohen, Max Lakeman and the Beautiful Stranger (Carper) / 191 Cole, Mother of Storms (Morgan, P) / 186 __ Thief of Dreams (Morgan, P) / 186 Collins, Tempter (Collings) /186 Constantine, Fulfillments of Fate & Desire (Morgan, P) / 186 Cook, Hugh, Lords of the Sword (Jeremias) / 191 Cook, Rick, Wizardry Compiled (Courtney) / 192 Cooper, Clare, Ashar of Qarius (Langer) / 192 Cooper, Louise, Infanta (Morgan, P) / 186 _____ -', Nocturne (Morgan, P) / 186
70 SFRA Newsletter, 193, December 1991 Coren, Gilbert: the Man Who Was G. K. Chesterton (Collins, W) /185 Corman & Jerome, How I Made a Hundred Movies (Klossner) / 185 Cornwell & Kott, Price Guide to Star Trek & Star Wars Collectibles (Barron) /192 COU, Wandering Ghost: Lafacadio Hearn (Lowentrout) / 193 Coulson, Star Sister (Stevens) / 185 Coyne, Child of Shadows (Dudley) /193 Crichton, jurasic Park (Hellekson) / 185 Crispin & O'Malley, Silent Dances: Starbridge Book Two (Roberts) /189 Cross, Witch Across Time (Corea) / 1 87 Crowley, Novelty (de Wit) / 188 Curry & Dean, Winter Scream (Mallett) / 190 Cushing, Peter, Past Forgetting (Klossner) / 189 _____ -', Past Forgetting: Memoirs of Hammer Years (Klossner) / 189 ______ Peter Cushing, an Autobiography (Klossner) / 1 89 Dahl, Best of Roald Dahl (Barron) / 192 -' Tales of the Unexpected (Barron) / 192 Datlow & Windling, eds., Year's Best Fantasy: 2nd Annual Collection (Heldreth) / 189 Datlow, Blood is not Enough (Moore) / 187 David, Vendetta (Mallett) / 190 Davies, Dollarville (Dudley) / 1 86 Davis, Paul, Lives and Times of Ebenezer Scrooge (Collings) /193 Davis, J. Madison, Stanislaw Lem (Heller) / 189 De Lint, Dreaming Place (Langer) / 191 __ -I' Drink Down the Moon (Rothschild) / 184 __ --', Little Country (Strain) / 193 DeChancie, Castle War! (Osborn) / 190 DeHaven, Walker of Worlds (Phy-Olsen) / 188 DeLamotte, Perils of Night: Study of Gothic (Sanders) /190 Demers, P. L. Travers (Attebery) /192 Desjarlais, Throne of Tara (Martin) / 193 Dick, Collected Short Stories of P.K. Dick: Vol. 3. (Collins, W) /192 __ Collected Stories of P. K. Dick, 1 (Collins, W) /189 -' In Pursuit of Valis (Latham) /193 -' We Can Remember It For You Wholesale. Vol. 2. (Collins, W) /192 Dickson, Young Bleys (Williams) / 191 Dika, Games of Terror: Halloween, Friday 13th, etc. (Moore) / 187 Dixon, Wheeler, Charm of Evil: Life and Films of Terence Fisher(Klossner) /192 _____ Films of Freddie Francis (Klossner) /191
SFRA Newsletter, 193, December 1991 Dozois, Writing Science Fiction and Fantasy (Smith, S) / 192 Drake, David, Northworld 2: Vengeance (Jeremias) / 192 ____ Surface Action (Hassler) / 185 71 Dresser, American Vampires: Fans, Victims, Practitioners (Larrier) / 187 Dziemianowicz, Annotated Guide To Unknown & Unknown Worlds (Barron) / 189 Easton, Sparrowhawk (Heller) / 188 Eddings, Ruby Knight (Hitt) / 190 Gnostic Pynchon (Attebery) / 187 fdelman, The Gift (Brizzi) / 191 Edgerton, Goblin Moon (Strain) / 190 Effinger, A Fire in the Sun (Carper) / 184 __ Old Funny Stuff (Levy) /186 Elliot & Reginald, George Zebrowski: Annotated Bibliography (Bartter) /185 Elliot, Jeffrey, Jack Dann: Annotated Bibliography (Reuben) /185 1 Work of Pamela Sargent: Annotated Bibliography (Bartter) / 185 Ellison, Harlan Ellison Hornbook (Wolfe) / 185 1 i Sleepless Nights in the Procrustean Bed (Wolfe) / 185 Elrod, Bloodcircle (Heller) / 189 Emerson, Ru, Calling of the Three (Zagorski) / 192 j Night Threads (Herrin) / 186 , Spellbound (Di Nardo) / 188 fschbach, Scroll of Lucifer (Tryforos) /191 Classics of Horror Film (Dziemianowicz) / 190 Faig, Parents of H. P. Lovecraft (Collins, W) /184 Farmer, Dayworld Breakup (Brizzi) / 190 farrington, Acts of the Apostates (Stableford) / 186 Feeley, Oxygen Barons (Levy) / 192 _; __ Oxygen Barons (Hassler) / 186 Fleischman, Midnight Horse (Rosenblutt) / 191 Foote, Connecticut Yankee in Twentieth Century (Collins, W) /189 Ford, Casting Fortune (Soukup) / 187 Forward, Rocheworld (Mallet) / 186 Foss, Diary of a Spaceperson (Hicks) / 189 Foster & Greenberg, eds., Smart Dragons, Foolish Elves (Jeremias) / 188 Foster, Alan, Cyber Way (Reynolds) / 186 _____ ,' Metrognome & Other Stories (Stevens) / 189 Fowler, Peripheral Vision (Levy) / 192 Frank, Through the Pale Door: Guide to American Gothic (Morrison) / 185 Frezza, Small Colonial War (Reynolds) / 189 Friedman & De Nevi, Youth in Babylon (Klossner) / 186
72 SFRA Newsletter, 193, December 1991 Friesner, Hooray for Hellywood (Larrier) / 190 Frost, Monster with a Thousand Faces (Heldreth) /187 Fulton, Encyclopedia of TV Science Fiction (Klossner) / 192 Gaiman & Pratchett, Good Omens: Prophecies of Agnes Nutter, Witch IT ryforos) /189 Gallagher, Downriver (Morgan, C) /186 Garber & Paleo, Uranian Worlds: Alternative Sexuality (Gordon) / 185 Gardner, More Annotated Alice (Stevens) /188 Garnett & Ellis, eds., SF: Critical Approaches (Bartter) / 190 Garnett, Zenith: Best in New British SF (Stableford) / 186 Garnett, ed., Orbit Science Fiction Yearbook Two (Morrison) /189 Gay, Mindsail (Morgan, C) /193 Gemmell, Knights of Dark Reknown (Morgan, P) / 186 __ -" Last Guardian (Morgan, P) / 186 Gentile, G, No Future for Dragons (Osborn) / 187 ___ G, Dragons Past (Osborn) / 187 Gentle, Rats and Gargoyles (Dudley) / 192 Gibson & Sterling, The Difference Engine (Heller) / 188 Gideon, Greeley's Cove (Villano) /191 Gifford, American Comic Strip Collections, 1884-1939 (Albert) /193 Gilluly, Ritnym's Daughters (Bogstad) / 189 Gilman, Living of Charlotte Perkins Gilman (Levy) / 191 Gilman, Greer Ilene, Moonwise (Strain) /192 Goldberg, Unsold TV Pilots (Klossner) / 192 Goulart, Encyclopedia of American Comics (Albert) / 189 __ -" Skyrocket Steele Conquers the Universe (Levy) / 191 Graham, ed., Vathek & Escape from Time (Billy) / 192 Greenberg & Waugh, eds., Cults of Horror (Werbaneth) / 191 Griffin, Star Commandos: Fire Planet (Hall) /191 __ -" Star Commandos: Mind Slaver (Hall) / 191 __ -" Star Commandos: Return to War (Hall) / 191 Gross & Van Hise, eds., Dark Shadows Tribute (Klossner) / 190 Gunnarsson, Human, Beware! (Hitt) /192 ____ Make Way for Dragons (Hitt) / 185 Guthke, Last Frontier: Imagining Other Worlds (Stevens) / 184 Guttenberg, Sunder, Eclipse, & Seed (Barker) /191 ____ Sunder, Eclipse, & Seed (Barker) / 192 Haiblum, Out of Sync (Carper) / 185 Hamilton, Arthur Rackham (Albert) / 184 Hamlin, Alley Oop (Klossner) / 189
SFRA Newsletter, 193, December 1991 lHand, Winterlong (Thompson) / 188 !Harper, R., Petrogypsies (Stevens) / 185 \Harper, T., Wolfwalker (Stevens) / 185 iHarrison, Mark Harrison's Dreamlands (Stevens) / 189 IHartmann, et ai, In the Stream of Stars (Stevens) / 188 !Harwell, Ranges of Romanticism: Five for Ten Studies (Heller) /193 lHassler, Isaac Asimov (Lewis) / 192 jHasson, Fantasia & Ciencia Ficcion (Kreksch) /191 ) __ Fantasticos Pulps en Castellano (1939-1957) (Kreksch) /191 lHawke, Cleopatra Crisis, The (Mead) / 185 jHayles, Chaos Bound (Latham) / 1 89 jHeinlein, V., ed., Grumbles from the Grave, (Smith, P) / 185 jHeller, Turn of the Screw: Bewildered Vision (Hitt) /185 :.llHoffmann & Bailey, Arts & Entertainment Fads (Barron) /193 iHolbrook, Skeleton in the Wardrobe (Stevens) / 192 R. E. Howard: Selected Letters 1931-36 (Elms) / 192 ttoyt, Lust for Blood: Consuming Story of Vampires (Gordon) / 187 Hubbard, Fear (Mallett) / 1 89 'I !Huff, Tanya, Fire's Stone, The (Wells) / 192 Last Wizard, The (Senior) / 187 1Husband, Sequels: Annotated Guide to Novels in Series (Barron) / 187 ',Hyman, Echoes (Heller) / 1 89 I Ray Bradbury: Dramatist (Lewis) / 1 85 Comics as Culture (Liberty) / 184 (Irwin, Best of the Best of Trek (Taormina) /188 aacques, Mossflower (Morgan, P) / 186 Sorcerer's Stone (Mallett) /190 Norma, The Witch House (Mingin) / 191 IJohnson, Shane, Worlds of the Federation (Taormina) /186 & Goodwin, eds., Feminism, Utopia, & Narrative (Bartter) / 190 jJones, Hidden Turnings (Morgan, C) / 186 L--, Hidden Turnings (Bogstad) / 186 Jordan, The Eye of the World (Sullivan) /188 The Great Hunt (Sullivan) / 188 Joshi, ed., H.P. Lovecraft Conference Proceedings (Collins, W) /192 'oshi, et ai, eds., Necrofile: Review of Horror Fiction (Barron) /193 73 'Joyce & Stephens, eds., Checklist of Kim Stanley Robinson (Barron) / 190
74 SFRA Newsletter, 193, December 1991 Kandel, In Between Dragons (Carper) / 185 Kato, Yamamoto: Rage in Heaven (Schuyler) / 189 Katz, Whalesinger (Langer) / 191 Kegan, Baby, The (Rosenbaum) / 1 85 Kelly, Heroines (Levy) /193 Kerr, Katherine, A Time of Exile (Strain) /191 _____ --', Polar City Blues (Wytenbroek) / 190 Key, Angel of Darkness (Collins, R) / 185 Kilian, Gryphon (Wytenbroek) /185 King, Stephen, Four Past Midnight (Sanders) /191 King, Jr., Pattern in the Web: Mythical Poetry of Charles Williams (Patterson) / 192 Kirchoff & Niles, Flint the King (Valle) / 192 Klause, Silver Kiss (deLint) / 191 Klinkowitz, Slaughterhouse-Five: Reforming NovellWorld (Gordon) / 193 Knapp, Machine, Metaphor, and the Writer: Jungian View (Dunn) / 192 Knicklebine, Welcome to Twin Peaks (Klossner) / 186 Knight, Monad; essays on science fiction (Barron) / 192 Knowles, Purgatorical Flame: Seven British Writers in WW /I (Ruddick) / 187 Koontz, Bad Place (Collings) /193 Kube-McDowell, Quiet Pools (Maiore) / 192 Kuehl, Alternate Worlds: Postmodern Antirealistic Fiction (Collings) / 193 Kuhn, Alien Zone (Morrison) / 188 Kurtz & Harris, Adept (Villano) / 187 Lacey, New Arthurian Encyclopedia (Williams) /190 Lackey, Burning Waters: Diana Tregarde Investigation (Kaveny) / 187 __ -" By the Sword (Zagorski) / 188 __ Magic's Price (Strain) /191 __ Magic's Promise (Strain) / 191 Lagorio & Day, King Arthur Through the Ages (Williams) /191 Lambourne, et ai, Close Encounters?; Science and SF (Morrison) / 191 Lane, To 'Her/and' and Beyond (Levy) / 187 Langford, ed., Contours of the Fantastic (Attebery) / 184 Larsen, Jeanne, Bronze Mirror (Strain) / 193 ______ Silk Road (Senior) / 187 Larson, Robert Bloch Companion (Sanders) / 1 8S Laumer, Reward for Retief(Marx) /186 Le Guin, Home-Concealed Woman: Diaries of M. W. Le Guin (Smith, P) /191 Lee, Forests of the Night (Morgan, C) / 186 Leiber, Fafhrd & Me (Collins, R) /191 Leinster, Forgotten Planet (Dunn) /191
SFRA Newsletter, 193, December 1991 Levi, Sixth Day and Other Tales (Stableford) /193 Levitasi Concept of Utopia (Hall) /192 Levy, Natalie Babbitt (Attebery) /191 75 Lewis, C.S., All My Road Before Me: C. S. Lewis, 1922-1927 (Collings) /193 Lewis, Anthony, Annotated Bibliography of Recursive SF (Barron) / 187 Lindstrom, Borges: Study of the Short Fiction (Herrin) /191 Littell, Bad Voltage (Marx) / 186 Lloyd-Smith, Uncanny American Fiction: Medusa's Face (Latham) /193 Llywelyn, Red Branch (Heldreth, U /184 Longyear, Infinity Hold (Stevens) / 185 Love, Total Devotion Machine (Morgan, C) /186 Lovecraft, Fantastic Poetry, ed. by S.T. Joshi. (Collins, W) /184 Lovett & Lovett, Lewis Carroll's Alice (Barron) /186 Lovett, Alice on Stage: Early Theatrical Productions (Collins, R) / 185 Lucas, Video Watchdog: Guide to Fantastic Video (Klossner) / 191 Lurie, Don't Tell the Grown-ups (Phy-Olsen) /191 Lynn, Tales from a Vanished Country (Levy) / 193 MacKinnon, Misogyny in Movies: DePalma Question (Liberty) / 188 Magistrale, ed., Shining Reader (Morrison) / 192 Mancoff, Arthurian Revival in Victorian Art (Albert) / 190 Manguel, ed., Oxford Book of Canadian Ghost Stories (Phy-Olsen) /192 Mank, Karloff and Lugosi (Dziemianowicz) / 184 Marshall, ed., Essays on C.S. Lewis and George MacDonald (Collings) /192 Masterton, Scare Care (Soukup) / 187 ___ -', Walkers (Moore) / 1 87 Matthews, Arthur and the Sovereignty of Britain (Thompson) / 186 Matthews, C. & J., Arthurian Book of Days (Thompson) / 190 May, Lloyd Alexander (Levy) / 189 Mayer, Noble-Hearted Kate (Sherman) /191 __ The Golden Swan (Sherman) / 191 MCAuley, Secret Harmonies (Morgan, P) / 186 McCaffery, L, Across Wounded Galaxies: Interviews, Am. SF Writers (Barron) /185 McCaffrey & Moon, Generation Warriors (Strain) / 187 McCaffrey & Nye, Death of Sleep (Wells) / 187 McCaffrey, All the Weyrs of Pem (Hellekson) /193 ___ -', All the Weyrs of Pem (Strain) / 193 ___ -', Rowan (Bartter) / 187 McCammon, Mine (Collings) / 192 McCarthy, et ai, eds., Legacy of Olaf Stapledon (Latham) / 188
76 SFRA News/etter, 193, December 1991 McCarty, Modern Horror Film (Morrison) /184 McCord, Voyages to Utopia (Williams) /186 McDowell, Toplin (Umland) /190 McGlathery, Fairy Tale Romance: Grimms, Basile, & Perrault (Bousfield) /191 ____ Fairy Tale Romance: Grimms, Basile, and Perrault (levy) /192 McKillip, Sorceress and the Cygnet (Strain) /189 McKinney, Kaduna Memories (Gordon) /188 ___ Robotech: End of the Circle (Gordon) /1 88 McMahon, Vampires Anonymous (Hollinger) /191 Mcquinn, Warrior (Winkler) /187 Metzger, Shock Totem (Corea) /189 Milan, The Cybernetic Shogun (Gordon) /188 Miller, Slice (Collings) /193 Minary & Moorman, Arthurian Dictionary (Sullivan) /184 Monleon, Specter Haunting Europe (Albert) /190 Monteleone, Borderlands (Umland) /185 Moon, Surrender None: The Legacy of Gird (Jeremias) /187 Morgan, Dark Fantasies (Daws) /1 86 Morrow, Swatting at the Cosmos (levy) /193 Murray, H.G. Wells (Hall) /185 Mustazza, Forever Pursuing Genesis (Wolfe) /188 Newman, Night Mayor (Stableford) /186 Niles, Feathered Dragon (Becker, G) /192 -' Iron Helm (Becker, G) /192 -' Iron helm (Riggs) /191 -' Viper Hand (Becker, G) /192 __ Viperhand (Riggs) /191 Niven & Barnes, Achilles' Choice (Hellekson) /192 Niven, N-Space (Hellekson) /186 -' Playgrounds of the Mind (Hellekson) /193 Nolan, How to Write Horror Fiction (Neilson) /189 Nollen, Boris Karloff: Critical Account of His Work (Hicks) /191 Norton, Andre, Oare to Go A-Hunting (Martin) /186 _____ ed., Tales of Witch World 3 (Martin) /187 Nudelman, Jessie Willcox Smith: American Illustrator (Albert) /193 ___ Jessie Willcox Smith: Bibliography (Albert) /193 O'Keefe, Black Snow Days (Stevens) /185 O'Neal, Abyss of Light (Jeremias) /192 __ Redemption of Light (Jeremias) /192 __ Treasure of Light (jeremias) /192
SFRA Newsletter, 193, December 1991 Ogle, Blind Turtle (Schuyler) /188 Ore, Being Alien (Bartter) / 186 --' Illegal Rebirth of Billy the Kid (Levy) /193 77 Parish and Pitts, Great Science Fiction Pictures 1/ (Klossner) / 184 Parrinder & Rolfe, H.G. Wells under Revision (Taormina) /186 Patai, Looking Backward, 1988-1888: Essays on Bellamy (Latham) / 188 Peak, Cat House (Collings) / 187 Pearson & Uricchio, Many Lives of Batman (Latham) / 190 Penley, et ai, Film, Feminism & SF (Hollinger) / 190 pickering, Understanding Doris Lessing (Ruddick) / 188 Pike, Witch (de Lint) /191 Pinkwater, Borgel (Berman) / 192 Pohl, Gateway Trip: Tales & Vignettes of the Heechee (Heller) / 188 Pollack & Matthews, Tarot Tales (Morgan, C) / 186 Poll in, Images of Poe: Catalogue of Illustrations (Albert) / 185 Powers, et ai, Handbook of Japanese Popular Culture (Barron) / 190 Pratchett, Pyramids (Morgan, P) / 186 ___ -I, Sisters (Morgan, P) / 186 ___ Wyrd Sisters (Morgan, P) / 186 Preuss, Venus Prime: The Diamond Moon (Ferguson) / 190 Price, H.P. Lovecraft and Cthulu Mythos (Dziemianowicz) / 185 __ Horror of it All: Encrusted Gems from Cthulu (Neilson) / 185 Priest, The Quiet Woman (Morgan, C) / 193 Pringle, Ultimate Guide to Science Fiction (Barron) / 189 Ransom, Jaguar (Jeremias) / 189 Rawn, Stronghold (Wells) / 193 Reed, Black Milk (Levy) / 186 Rees, What do Draculas Do? (Sullivan) / 191 Reeves-Stevens, J. & G., Chronicles of Galen Sword #7: Shifter (Pagliarolj) /192 Regan, Jilly's Ghost (de Lint) / 191 Resnick, Bwana & Bully! (Reilly) /192 ___ ,' Second Contact (Arbur) /186 Rice, Witching Hour (Hellekson) / 1 88 Rickman, To the High Castle, P. K. Dick (Latham) /188 Riley, Dracula (Original 7937 Shooting Script) (Albert) / 187 Ringe, Charles Brockden Brown (Heller) / 191 Roberson, Flight of the Raven (Berman) / 188 Roberts, Gothic Immortals (Heller) / 1 86 Robinson, Spider, Callahan's Lady (Hellekson) /190
78 SFRA News/etter, 193, December 1991 Robinson, Kim Stanley, Escape from Kathmandu (Bartter) / 186 _______ -', Pacific Edge (Heller) / 188 Rodden, Politics of Literary Reputation: (Hall) / 192 __ -I' Politics of Literary Reputation: (Kratz) /192 Rogers, Prisoner and Danger Man (Klossner) / 186 Rovin, Encyclopedia of Monsters (Latham) / 187 Rubin, Steven, Complete james Bond Movie Encyclopedia (Klossner) / 188 Rubin, Bruce, jacobs Ladder (Klossner) / 184 Ruddick, Christopher Priest (de Wit) / 185 __ -', Christopher Priest (Stableford) / 185 Rusch & Smith, eds., SF Writers Handbook (Potts) / 1 88 Rusch, Pulphouse, Hardback Magazine (Levy) / 191 Russell, Initiate Brother (Di Nardo) / 188 Ryman, Child Garden (Morgan, P) / 1 86 -' Child Garden (Stableford) / 186 Saberhagen, Matter of Taste (Gordon) /188 Sammons, Splatterpunks: Extreme Horror (Umland) / 185 Savage, William, Comic Books and America (Liberty) / 189 Savage, R. et ai, eds., Orwellian Nfoment Hindsight in Post-1984 Wald(Latham) /187 Saxton, jane Saint & the Backlash (Morgan, P) / 186 Schakel & Huttar, eds., Word and Story in C. S. Lewis (Stevens) /192 Schow, Seeing Red (Nilo) / 189 Schultz & Joshi, eds., Epicure in the Terrible: Lovecraft (Collins, W) /193 Schultz, Lovecraft: Letters to Henry Kuttner (Collings) /188 Schweitzer, Pathways to Elfland: Writings of Lord Dunsany (Collins, R) /184 ____ ,' White Isle (de Wit) / 189 Scott, Michael, Death's Law (Morgan, P) / 186 Scott, Kathryn, Dark Shadows Companion (Klossner) / 186 Scott, Randall, Comics Librarianship (Strain) / 186 Service, Under Alien Stars (Dudley) /191 Shatner, Tekwar (Larrier) / 185 Sheffield, Summertide (Stevens) / 1 86 Shelley, Mary Shelley Reader (Pfeiffer) /190 __ -', Mary Shelley Reader (Williams) /188 Shiner, Nine Hard Questions About the Universe (Sanders) / 190 Silverberg, Letters from Atlantis (Langer) / 188 Singer, Charmed (Barker) / 187 Sirota, Demon Shadows (Taormina) /188 Skal, Hollywood Gothic: Tangled Web of Dracula (Neilson) / 187 Skerl & Lydenberg, eds., W.S. Burroughs at the Front (Morrison) / 190
SFRA News/etter, 193, December 1991 79 Sleator, Strange Attractors (Holtzman) /192 Smith, Steven, A Heart at Fire's Center: Bernard Herrmann (Larson) / 193 Smith, L J, Heart of Valor (Nilo) / 188 Smith, Frederik, ed., Genres of 'Gulliver's Travels' (Kramer) / 187 Smith, Julie, Call it Madness (Strain) /187 Smith, Ronald, Poe in the Media (Taormina) / 190 Smith, Sherwood, Wren to the Rescue (Sherman) /191 Staines, trans., Romances of Chretien de Troyes (Kratz) / 187 Stamey, Double Blind (Bogstad) /186 Stasheff, Warlock Rock (Reilly) / 185 Steele, Allen, Clarke County, Space (Stevens) /193 _____ Orbital Decay (Carper) / 187 Stephens, Christopher, comp., Checklist of Wolfe, et al (Barron) /185 ___ SF & F Paperback First Edition: Complete List (Barron) / 190 Stephensen-Payne et ai, Philip Jose Farmer: a bibliography (Barron) / 185 Stephenson-Payne, Piers Anthony: a bibliography (Barron) / 185 Sternfield, Look of Horror: Scary Moments from Scary Movies (Taormina) /184 Stinson, Anthony Burgess Revisited (Ruddick) / 190 Straub, Houses Without Doors (Collings) /193 Sutin, Divine Invasions: Life of P. K. Dick (Latham) / 188 Swearer, et ai, Beowulf: A Likeness (Kratz) /193 Swycaffer, Warsprite (Gordon) / 188 ____ Web of Futures (Messina) / 189 Talmadge-Bickmore, The Apprentice (Lowry) /189 Tardivel, Pour La Patrie (Lehman) /185 Tatar, Hard Facts of the Grimm's Fairy Tales (Attebery) /189 Tepper, Raising the Stones (Arbur) / 185 __ Raising the Stones (Levy) / 185 Thomas, Animal Wife (Tryforos) / 193 Thompson & Carter, Firstborn (Zsarko) / 191 ---:-______ Riverwind the Plainsman (Valle) / 192 Thwaite, A.A. Milne: Man Behind Winnie-the-Pooh (Sullivan) /188 Timson, Far Magic Shore (Morgan, P) / 186 Tolkien, War of the Ring (Collings) /188 Tolnay, Celluloid Gangs (Klossner) /189 Touponce, Isaac Asimov (Lewis) / 192 Tropp, Images of Fear (Morrison) /188 Turner, Cinema of Adventure, Romance & Terror (Klossner) /185 Turtledove, World of Difference (Reynolds) /186
80 SFRA News/etter, 193, December 1991 Van Hise, Trek Crew Book (Klossner) /190 ___ Lost in Space 25th Anniversary Tributer Book, (Klossner) /190 ___ ed., Best of Enterprise Incidents (Klossner) /190 ___ Stephen King and Clive Barker (Collings) /188 Vardeman, Space Vectors (Dudley) /1 87 Von Gunden, StarSpawn (Dunn) /191 Walker, Nancy, Feminist Alternatives (Hollinger) /1 84 Walker, Mary, Scathach and Maeve's Daughters (Langer) /1 87 Wallace, Agony of Lewis Carroll (Stevens) /1 87 Watson, Jeanie, Risking Enchantment: Coleridge's World of Faery (Collings) /193 Watson, Ian, Salvage Rites & Other Stories (Morgan, C) /1 86 Waugh, Comics (Albert) /190 Weaver, SF Stars and Horror Heroes: Interviews (Klossner) /191 Weis & Hickman, Elven Star (Taormina) /192 Weis, Margaret, King's Test (Taormina) /191 ______ Lost King (Taormina) /186 Wells, First Book of the Kingdoms: Wrath of Ashar (Herrin) /1 84 __ Second Book of the Kingdoms: The Usurper (Herrin) /1 84 West, Pamela, 20/20 Vision (Williams) /185 West, Mark, ed., Before Oz: Juvenile Fantasy Stories (Albert) /186 White, Enchanted World of Jessie M. King (Albert) /193 Wilkie, Through Narrow Gate: Consciousness of Russell Hoban (Collins, R) /187 Williams, Walter, Facets (Levy) /184 Williams, Charles, Letters to Lalage: C. Williams to Lois Lang-Sims (Albinskj) /191 _______ Outlines of Romantic Theology (Spencer) /189 Williams, Ian, Lies That Bind (Morgan, C) /186 Williamson, Jack, Into Eighth Decade (Levy) /190 ______ Mazeway (Reilly) /192 Willis, No Clock in the Forest: Alpine Tale (Winkler) /192 Wilson, A.N., C. S. Lewis: A Biography (Collings) /184 Wilson, David, Coachman Rat (Morgan, P) /1 86 Wilson, Robert, The Divide (Carper) /191 Wingrove, Chung Kuo, Book One (Morgan, P) /186 Winter, Faces of Fear (Neilson) /186 Winterson, Sexing the Cherry (Albin ski) / 186 Wolverton, On My Way to Paradise (Hal\) / 187 ____ Serpent Catch (Mallett) /189 Womack, Heathern (Heller) /191
SFRA Newsletter, 193, December 1991 Wood, Plan 9 from Outer Space (Klossner) / 186 Wrede, Dealing with Dragons (Arbur) / 185 Wylie, Unbalanced Earth: Dreams of Stone (Morgan, P) / 186 __ Unbalanced Earth: Lightless Kingdom (Morgan, P) / 186 Yolen, The Dragon's Boy (Bartter) /191 --' Things That Go Bump in the Night (Lowen trout) / 1 87 Zahn, Star Wars: Heir to Empire (Hellekson) / 190 Zentz, Jupiter's Ghost: Next Generation SF (Morrison) /193 Zettner, Shadow Warrior (Valle) / 187 Zizek, Looking Awry: Jacques Lacan Through Culture (Collings) /193 TITLE INDEX 20/20 Vision, West / 1 85 AA. Milne: Man Behind Winnie-the-Pooh, Thwaite / 188 Abyss of Light, O'Neal / 192 Achilles' Choice, Niven & Barnes /192 81 Across Wounded Galaxies: Interviews, Am. SF Writers, McCaffery, L /185 Acts of the Apostates, Farrington / 186 Adept, Kurtz & Harris / 1 87 Agony of Lewis Carroll, Wallace / 187 Alice on Stage: Early Theatrical Productions, Lovett / 1 85 Alien Zone, Kuhn / 188 All My Road Before Me: C. S. Lewis, 1922-1927, Lewis /193 All the Weyrs of Pern, McCaffrey / 193 All the Weyrs of Pern, McCaffrey /193 : Alley Oop, Hamlin / 189 Alternate Worlds: Postmodern Antirealistic Fiction, Kuehl /193 American Comic Strip Collections, 1884-1939, Gifford / 193 American Vampires, Dresser / 186 American Vampires: Fans, Victims, Practitioners, Dresser / 187 Angel of Darkness, Key / 185 Animal Wife, Thomas / 193 Annotated Bibliography of Recursive SF, Lewis / 187 Annotated Guide To Unknown & Unknown Worlds, Dziemianowicz /189 Annotated Index to Thrill Book, Bleiler / 192 Anthony Burgess Revisited, Stinson / 190 Apprentice, Talmadge-Bickmore /189 Approaches to Teaching Shelley'S Frankenstein, Behrendt /188 Archivist, Alderman / 1 86
82 SFRA Newsletter, 193, December 1991 Art of Yoshitaka Amano: Hiten., Amano / 190 Arthur Rackham, Hamilton / 184 Arthur and the Sovereignty of Britain, Matthews / 1 86 Arthurian Book of Days, Matthews, C. & J. / 190 Arthurian Dictionary, Minary and Moorman / 184 Arthurian Revival in Victorian Art, Mancoff / 190 Arts & Entertainment Fads, Hoffmann & Bailey / 193 Ashar of Qarius, Cooper /192 Astounding Days: SF Autobiography, Clarke / 184 Baby, The, Kegan / 185 Bad Place, Koontz /193 Bad Voltage, Littell / 186 Before Oz: Juvenile Fantasy Stories, West / 186 Being Alien, Ore /186 Beowulf: A Likeness, Swearer, et al / 193 Berlin-Bangkok, April / 191 Best of Enterprise Incidents, Van Hise, ed. / 190 Best of Roald Dahl, Dahl/ 192 Best of the Best of Trek, Irwin / 1 88 Best of the Nebulas, Bova / 184 Beyond the Door, Blackwood /191 Bigger Than Life; Creator of Doc Savage, Cannaday / 186 Black Milk, Reed / 186 Black Snow Days, O'Keefe /185 Blind Turtle, Ogle / 188 Blood is not Enough, Datlow / 1 87 Bloodcircle, Elrod / 189 Borderlands, Umland / 185 Borgel, Pinkwater /192 Borges: Study of the Short Fiction, Lindstrom /191 Boris Karloff: Critical Account of His Work, Nollen / 191 'Brave New World': History, Science, and Dystopia, Baker / 188 Bronze Mirror, Larsen / 193 Burning Waters: Diana Tregarde Investigation, Lackey / 187 Bwana & Bully!, Resnick /192 By the Sword, Lackey / 1 88 c. S. Lewis: A Biography, Wilson /184 Cabinet of Dr. Caligari, Budd / 189 Call it Madness, Smith, J / 187
SFRA Newsletter, 193, December 1991 Callahan's Lady, Robinson / 190 Calling of the Three, Emerson / 192 Casting Fortune, Ford / 1 87 Castle War!, DeChancie / 190 Cat House, Peak /187 Celluloid Gangs, Tolnay /189 Chaos Bound, Hayles / 1 89 Charles Brockden Brown, Ringe / 191 Charm of Evil: Life and Films of Terence Fisher, Dixon / 192 Charmed, Singer / 187 Checklist of Kim Stanley Robinson, Joyce & Stephens, eds. / 190 Checklist of Wolfe, et ai, Stephens / 185 Child Garden, Ryman / 186 Child Garden, Ryman / 186 Child of Shadows, Coyne /193 Christopher Priest, Ruddick / 185 Christopher Priest, Ruddick / 185 Chronicles of Galen Sword #1: Shifter, Reeves-Stevens, J. & G. / 192 Chung Kuo, Book One, Wingrove / 1 86 Cinema of Adventure, Romance & Terror, Turner / 185 Ciruelo, Cabral / 1 89 Clark Ashton Smith, Behrends / 185 Clarke County, Space, Steele /193 Classics of Horror Film, Everson / 190 Cleopatra Crisis, The, Hawke / 185 Clive Barker: Illustrator, Barker / 189 Close Encounters?; Science and SF, Lambourne, et al / 191 Coachman Rat, Wilson / 186 Collected Short Stories of P.K. Dick: Vol. 3., Dick /192 Collected Stories of P. K. Dick, 1, Dick / 189 Comic Books and America, Savage / 1 89 Comics, Waugh / 190 Comics Librarianship, Scott, R / 186 Comics as Culture, Inge / 1 84 Complete James Bond Movie Encyclopedia, Rubin / 188 Concept of Utopia, Levitas /192 Connecticut Yankee in Twentieth Century, Foote / 189 Contours of the Fantastic, Langford, ed. / 184 Cordwainer Smith Checklist, Bennett / 192 Cowboy Feng's Space Bar and Grill, Brust / 186 Cowboy Feng's Space Bar and Grille, Brust / 187 83
84 SFRA Newsletter, 193, December 1991 Cults of Horror, Greenberg & Waugh, eds. /191 Cyber Way, Foster / 186 Cybernetic Shogun, Milan / 188 Dare to Go A-Hunting, Norton / 186 Dark Fantasies, Morgan / 186 Dark Man: Robert E. Howard Studies, Burke / 1 84 Dark Shadows Companion, Scott, K / 186 Dark Shadows Tribute, Gross & Van Hise, eds. / 190 Darkman, Boyll / 1 88 Dawn's Uncertain Light, Barrett / 185 Dayworld Breakup, Farmer / 190 Dead Morn, Anthony & Fuentes /192 Dealing with Dragons, Wrede / 185 Death of Sleep, McCaffrey & Nye / 187 Death's Law, Scott /186 Demon Shadows, Sirota / 188 Design of Morris's, Boos /190 Diaries of Hans Christian Andersen, Andersen /187 Diary Sketchbook, Books 1 and 2, Bode /1 89 Diary of a Spaceperson, Foss / 189 Difference Engine, Gibson & Sterling /188 Digital Dreams, Barrett, ed. / 193 Divide, The, Wilson / 191 Divine Invasions: Life of P. K. Dick, Sutin / 188 Dollarville, Davies / 186 Don't Tell the Grown-ups, Lurie /191 Dorothy of Oz, Baum / 187 Double Blind, Stamey / 1 86 Downriver, Ga"agher / 186 Dracula (Original 1931 Shooting Scripr), Riley / 187 Dragon's Boy, Yolen / 191 Dragon's Carbuncle, Boyer /184 Dragons Past, Gentile, G / 187 Dreaming Place, De Lint /191 Dri:'k Down the Moon, De Lint / 184 Dualists, Bowkett / 186 Echoes, Hyman / 189 Elven Star, Weis & Hickman / 192 Enchanted World of Jessie M. King, White /193 Encyclopedia of American Comics, Goulart / 189
SFRA Newsletter, 193, December 1991 Encyclopedia of Monsters, Rovin / 187 Encyclopedia of TV Science Fiction, Fulton / 192 Epicure in the Terrible: Lovecraft, Schultz & Joshi, eds. /193 Escape from Kathmandu, Robinson / 186 Essays on C.S. Lewis and George MacDonald, Marshall, ed. /192 Expediter, The, Clarke / 184 Expedition, Barlow / 1 88 Eye of the World, Jordan / 188 Faces of Ceti, Caraker /191 Faces of Fear, Winter / 186 Facets, Williams / 184 Fafhrd & Me, Leiber /191 Fairy Tale Romance: Grimms, Basile, & Perrault, McGlathery /191 Fairy Tale Romance: Grimms, Basile, and Perrault, MCGlathery /192 Fantasia & Ciencia Ficcion, Hasson / 191 Fantastic Poetry, Joshi, ed. / 184 Fantasticos Pulps en Castellano (1939-1957), Hasson / 191 Far Magic Shore, Timson / 186 Fear, Hubbard / 1 89 Feathered Dragon, Niles /192 Feminism, Utopia, and Narrative, Jones & Goodwin, eds. / 190 Feminist Alternatives, Walker / 184 Films of Freddie Francis, Dixon / 191 Film, Feminism & SF, Penley, et al / 190 Fire in the Sun, Effinger / 184 Fire's Stone, Huff / 192 First Book of the Kingdoms: Wrath of Ashar, Wells / 184 Firstborn, Thompson & Carter /191 Flight of the Raven, Roberson / 188 Flint the King, Kirchoff & Niles /192 Folk of the Fringe, Card / 184 Forests of the Night, Lee / 186 Forever Pursuing Genesis, Mustazza / 188 Forgotten Planet, Leinster /191 Four Past Midnight, King /191 Friedkin: Films of Aberration, Obsession and Reality, Clagett / 187 Fulfillments of Fate & Desire, Constantine / 186 Full Spectrum 2, Aronica, et al. / 186 85
86 SFRA Newsletter, 193, December 1991 Game's End, Anderson, K / 188 Game's End, Anderson, K /188 Gamearth, Anderson, K / 188 Gameplay, Anderson, K / 188 Games of Terror: Halloween, Friday 13th, etc., Dika / 187 Gateway Trip: Tales & Vignettes of the Heechee, Pohl / 188 Generation Warriors, McCaffrey & Moon / 187 Genres of, Smith, F. / 187 George Zebrowski: Annotated Bibliography, Elliot & Reginald / 185 Gift, The, Edelman / 191 Gilbert: the Man Who Was G. K. Chesterton, Coren / 185 Gnostic Pynchon, Eddins /187 Goblin Moon, Edgerton / 190 Golden Swan, Mayer / 191 Good Omens: Prophecies of Agnes Nutter, Witch, Gaiman & Pratchett / 189 Gothic Immortals, Roberts / 186 Great Hunt, Jordan / 188 Great Science Fiction Pictures 1/, Parish and Pitts / 184 Greeley's Cove, Gideon / 191 Grumbles from the Grave" Heinlein, V., ed. / 185 Gryphon, Kilian / 185 H.G. Wells, Murray /185 H.G. Wells under Revision, Parrinder & Rolfe / 186 H.P. Lovecraft Centennial Conference Proceedings, Joshi, ed. / 192 H.P. Lovecraft and Cthulu Mythos, Price / 185 Handbook of Japanese Popular Culture, Powers, et al / 190 Hard Facts of the Grimm's Fairy Tales, Tatar /189 Harlan Ellison Hornbook, Ellison /185 Harry's Helicopter, Anderson, J / 189 Heed:;, Bear /191 Heart at Fire's Center: Bernard Herrmann, Smith / 193 Heart of Valor, Smith / 188 Heathern, Womack / 191 Heavy Time, Cherryh / 1 89 Heroines, Kelly /193 Hidden Turnings, Jones /186 Hidden Turnings, Jones / 186 Hollywood Gothic: Tangled Web of Dracula, Skal/ 187 Home-Concealed Woman: Diaries of M. W. Le Guin, Le Guin /191 Hooray for Hellywood, Friesner /190 Horror of it All: Encrusted Gems from Cthulu, Price / 185
SFRA Newsletter, 193, December 1991 Houses Without Doors, Straub /193 How I Made a Hundred Movies, Corman & Jerome /1 85 How to Write Horror Fiction, Nolan /189 How to Write Science Fiction and Fantasy, Card /185 Human, Beware!, Gunnarsson /192 Illegal Rebirth of Billy the Kid, Ore /193 Illustrated History of Horror Comics, Benton /193 Images of Fear, Tropp /1 88 Images of Poe: Catalogue of Illustrations, Pollin /185 In Between Dragons, Kandel/185 In Frankenstein's Shadow, Baldick /186 In Pursuit of Valis, Dick /193 In the Stream of Stars, Hartmann, et al/188 Infanta, Cooper /186 Infinity Hold, Longyear /185 Initiate Brother, Russell/188 Interior Life, Blake /187 Into Eighth Decade, Williamson, J./190 Iron Helm, Niles /192 Iron helm, Niles /191 Isaac Asimov, Hassler /192 Isaac Asimov, Touponce /192 jack Dann: Annotated Bibliography, Elliot /185 jacobs Ladder, Rubin /184 jaguar, Ransom /1 89 jane Saint & the Backlash, Saxton /1 86 jekyll Legacy, Bloch & Norton /185 jessie Willcox Smith: American Illustrator, Nudelman /193 jessie Willcox Smith: Bibliography, Nudelman /193 jilly's Ghost, Regan /191 jungian Patterns in Lessing, Cederstrom /1 90 jupiter's Ghost: Next Generation SF, Zentz /193 jurasic Park, Crichton /1 85 Kaduna Memories, McKinney /188 Kafka, Citati, /188 Karloff and Lugosi, Mank /184 King Arthur Through the Ages, Lagorio & Day /191 King's Test, Weis /191 King, The, Barthelme /191 Knights of Dark Reknown, Gemmell/186 87
88 SFRA Newsletter, 193, December 1991 Landscape of Darkness, Blair /191 Last Frontier: Imagining Other Worfds, Guthke / 184 Last Guardian, Gemmell / 1 86 Last Orders, Aldiss / 184 Last Wizard, Huff /187 Legacy of Olaf Stapledon, McCarthy, et ai, eds. / 188 Les Gelules Utopiques, Bouchard / 185 Letters from Atlantis, Silverberg / 188 Letters to Lalage: C. Williams to Lois Lang-Sims, Williams /191 Lewis Carroll, Clark / 190 Lewis Carroll's Alice, Lovett & Lovett / 186 Lies That Bind, Williams /186 Life and Work of Harry Clarke, Bowe / 1 89 Lifeline, Anderson, K, & Beason /190 Little Country, De Lint /193 Lives and Times of Ebenezer Scrooge, Davis /193 Living of Charfotte Perkins Gilman, Gilman / 191 Lloyd Alexander, May / 189 Look of Horror: Scary Moments from Scary Movies, Sternfield / 184 Looking Awry: Jacques Lacan Through Culture, Zizek /193 Looking Backward, 1988-1888: Essays on Bellamy, Patai /188 Lords of the Sword, Cook /191 Lost King, Weis /186 Lost in Space 25th Anniversary Tributer Book" Van Hise / 190 Lovecraft's Providence & Adjacent Parts, Beckwith /185 Lovecraft: Disturbing the Universe, Burleson / 188 Lovecraft: Letters to Henry Kuttner, Schultz / 188 Lust for Blood: Consuming Story of Vampires, Hoyt / 1 87 Machine, Metaphor, and the Writer: Jungian View, Knapp / 192 Magic's Price, Lackey /191 Magic's Promise, Lackey /191 Make Way for Dragons, Gunnarsson /185 Many Lives of Batman, Pearson & Uricchio / 190 Mark Harrison's Dreamlands, Harrison /189 Mary Shelley Reader, Bennett & Robinson, eds. / 190 Mary Shelley Reader, Shelley /188 Mask of the Prophet, Andrew / 1 86 Matter of Taste, Saberhagen / 188 Max Lakeman and the Beautiful Stranger, Cohen /191 Mazeway, Williamson /192 Metrognome & Other Stories, Foster / 189
SFRA Newsletter, 193, December 1991 Midnight Horse, Fleischman / 191 Mindsail, Gay / 193 Mine, McCammon / 192 Misogyny in Movies: DePalma Question, MacKinnon / 188 Modern Horror Film, McCarty /184 Monad; essays on science fiction, Knight /192 Monster with a Thousand Faces, Frost /187 Moon wise, Gilman /192 More Annotated Alice, Gardner / 188 Mossflower, Jacques / 1 86 Mother of Storms, Cole / 186 N-Space, Niven / 186 Natalie Babbitt, Levy / 191 Nebula Awards 24: SFWA's Choices for 1988, Bishop, ed. / 193 Necrofile: Review of Horror Fiction, Joshi, et ai, eds. /193 Neon Twilight, Bryant / 192 New Arthurian Encyclopedia, Lacey / 190 Nicoji, Bell, M. Shayne / 192 Night Mayor, Newman / 186 Night Threads, Emerson / 186 Night Watch, Bailey / 188 Nine Hard Questions About the Universe, Shiner / 190 No Clock in the Forest: Alpine Tale, Willis /192 No Future for Dragons, Gentile, G /187 Noble-Hearted Kate, Mayer / 191 Nocturne, Cooper / 1 86 Northworld 2: Vengeance, Drake / 192 Novelty, Crowley / 1 88 Old Funny Stuff, Effinger / 186 On My Way to Paradise, Wolverton / 187 Orbit Science Fiction Yearbook Two, Garnett, ed. /189 Orbital Decay, Steele / 187 Orwellian Moment: Hindsight in Post-1984 World, Savage / 187 Out of Sync, Haiblum / 185 Outlines of Romantic Theology, Williams / 189 Owen Barfield on CS. Lewis, Barfield /191 Oxford Book of Canadian Ghost Stories, Manguel, ed. / 192 Oxygen Barons, Feeley /192 Oxygen Barons, Feeley /186 89
90 P. L. Travers, Demers / 192 Pacific Edge, Robinson / 188 SFRA Newsletter, 193, December 1991 Parents of H. P. Lovecraft, Faig /184 Past Forgetting, Cushing / 189 Past Forgetting: Memoirs of Hammer Years, Cushing /189 Pathways to Elfland: Writings of Lord Dunsany, Schweitzer / 184 Pattern in the Web: Mythical Poetry of Charles Williams, King, Jr. /192 Pendragon Chronicles, Ashley, ed. /191 Perils of Night: Study of Gothic, DeLamotte / 190 Peripheral Vision, Fowler /192 Peter Cushing, an Autobiography, Cushing /189 Petrogypsies, Harper, R. / 185 Phaze Doubt, Anthony / 190 Philip jose Farmer, Stephensen-Payne et al / 185 Philosophy of Horror, Carroll / 187 Piece of Blue Sky, Atack / 1 88 Piers Anthony, Stephenson-Payne / 185 Plan 9 from Outer Space, Wood / 186 PlarJrounds of the Mind, Niven / 193 Poe in the Media, Smith, R. / 190 Polar City Blues, Kerr / 190 Politics of Literary Reputation:, Rodden / 192 Politics of Literary Reputation:, Rodden / 192 Pour La Patrie, Tardivel / 185 Price Guide to Star Trek & Star Wars Collectibles, Cornwell & Kott /192 Prisoner and Danger Man, Rogers / 186 Psycho House, Bloch / 189 Pulphouse, Hardback Magazine, Rusch /191 Purgatorical Flame: Seven British Writers in WW II, Knowles / 187 Pyramids, Pratchett / 1 86 Quiet Pools, Kube-McDowell / 192 Quiet Woman, Priest / 193 R. E. Howard: Selected Letters 1931-36, Howard / 192 Raising the Stones, Tepper /185 Raising the Stones, Tepper / 1 85 Ranges of Romanticism: Five for Ten Studies, Harwell / 193 Ratha and Thistle-chaser, Bell / 187 Rats and Gargoyles, Gentle / 192 Ratspike, Blanche & Miller /186
SFRA News/etter, 193, December 1991 Ray Bradbury: Dramatist, Indick / 185 Reading Kafka, Anderson, M / 188 Red Branch, Llywelyn / 184 Redemption of Light, O'Neal/ 192 Redwork, Bedard / 1 91 Requiem for Anthi, Blakeney /187 Reward for Relief, Laumer /186 Ring of Charon, Allen / 193 Risking Enchantment: Coleridge's World of Faery, Watson / 193 Ritnym's Daughters, Gilluly / 189 Riverwind the Plainsman, Thompson & Carter / 192 Robert Bloch Companion, Larson / 185 Robot Visions, Asimov /192 Robotech: End of the Circle, McKinney / 188 Rocheworld, Forward / 1 86 Romances of Chretien de Troyes, Staines, trans. / 187 Rowan, McCaffrey / 187 Ruby Knight, Eddings /190 SF & F Paperback First Edition: Complete List, Stephens / 190 SF Stars and Horror Heroes: Interviews, Weaver / 1 91 SF Writers Handbook, Rusch & Smith, eds. / 188 SF: Critical Approaches, Garnett & Ellis, eds. / 190 91 SF, Fantasy, & Horror: 1990; a bibliography, Brown & Contento, eds. / 192 Salvage Rites & Other Stories, Watson / 1 86 Scare Care, Masterton / 187 Scathach and Maeve's Daughters, Walker /187 Science Fiction: Early Years, Bleiler / 189 Scroll of Lucifer, Eschbach / 1 91 Second Book of the Kingdoms: The Usurper, Wells / 184 Second Contact, Resnick / 186 Secret Gardens, Golden Age of Children's Lit., Carpenter /192 Secret Harmonies, McAuley / 186 Secret Life of Houses, Bradfield / 186 Seeing Red, Schow / 1 89 Sequels: Annotated Guide to Novels in Series, Husband / 187 Serpent Catch, Wolverton / 189 Sexing the Cherry, Winterson /186 Shadow Gate, Bell, Margaret /192 Shadow Warrior, Zettner / 1 87 Shining Reader, Magistrale, ed. / 192 Shock Totem, Metzger /189
92 SFRA Newsletter, 193, December 1991 Silent Dances: Starbridge Book Two, Crispin & O'Malley / 189 Silk Road, larsen / 187 Silver Kiss, Klause /191 Sisters, Pratchett / 1 86 Sixth Day and Other Tales, levi / 193 Skeleton in the Wardrobe, Holbrook / 192 Skyrocket Steele Conquers the Universe, Goulart /191 Slaughterhouse-Five: Reforming NovellWorld, Klinkowitz / 193 Sleepless Nights in the Procrustean Bed, Clarke, ed. / 185 Slice, Miller /193 Small Colonial War, Frezza / 189 Smart Dragons, Foolish Elves, Foster & Greenberg, eds. / 188 Socialism & Literary Artistry of William Morris, Boos & Silver /186 Songs of the Dancing Gods, 4, Chalker /188 Sons of Titans, Adkins /187 Sorcerer's Stone, James /190 Sorceress and the Cygnet, McKillip /189 Space Folk, Anderson / 1 84 Space Vectors, Vardeman / 187 Spa rrowha wk, Easton / 188 Specter Haunting Europe, Monleon / 190 Spellbound, Emerson / 188 Splatterpunks: Extreme Horror, Sammons / 1 85 Stalking Horse, Ash / 1 87 Stanislaw Lem, Davis / 189 Star Commandos: Fire Planet, Griffin / 191 Star Commandos: Mind Slaver, Griffin / 191 Star Commandos: Return to War, Griffin / 191 Star Sister, Coulson / 185 Star Wars: Heir to Empire, Zahn / 190 StarSpawn, Von Gunden / 191 Stephen King and Clive Barker, VanHise / 1 88 Strange Attractors, Sleator / 192 Stronghold, Rawn / 193 Summertide, Sheffield / 186 Sunder, Eclipse & Seed, Guttenberg /191 Sunder, Eclipse, & Seed, Guttenberg /192 Sunset Terrace Imagery in Lovecraft, Cannon / 184 Surface Action, Drake / 185 Surrender None: The Legacy of Gird, Moon / 187 Swatting at the Cosmos, Morrow /193
SFRA Newsletter, 193, December 1991 Tales from a Vanished Country, Lynn /193 Tales of Witch World 3, Norton / 187 Tales of the Unexpected, Dahl / 192 Tarot Tales, Pollack & Matthews /186 Tekwar, Shatner /185 Tempter, Collins /186 Tender Prey, Bradford / 1 92 Thief of Dreams, Cole / 186 Things That Go Bump in the Night, Yolen /187 Throne of Tara, Desjarlais / 193 Through Narrow Gate: Consciousness of Russell Hoban, Wilkie / 187 Through the Pale Door: Guide to American Gothic, Frank / 185 Time of Exile, Kerr /191 To 'Herland' and Beyond, Lane /187 To the High Castle, P. K. Dick, Rickman /188 Tolkien Thesaurus, Blackwelder /186 Toplin, McDowell / 190 Total Devotion Machine, Love / 186 Treasure of Light, O'Neal / 192 Trek Crew Book, Van Hiaw / 190 Turn of the Screw: Bewildered Vision, Heller / 185 Ultimate Guide to Science Fiction, Pringle / 189 Unbalanced Earth: Dreams of Stone, Wylie /186 Unbalanced Earth: Lightless Kingdom, Wylie / 186 Uncanny American Fiction: Medusa's Face, Lloyd-Smith / 193 Under Alien Stars, Service /191 93 Understanding Contemporary American SF, 1926-1970, Clareson / 184 Understanding Doris Lessing, Pickering / 188 Unsettled Dust, Aickman /193 Unsold TV Pilots, Goldberg /192 Uranian Worlds: Alternative Sexuality, Garber & Paleo / 185 Usurper, The, Wells / 184 Vampires Anonymous, McMahon / 191 Vathek and the Escape From Time, Graham, ed. /192 Vendetta, David / 190 Venus Prime: The Diamond Moon, Preuss / 1 90 Video Watchdog: Guide to Fantastic Video, Lucas / 191 Viper Hand, Niles /192 Viperhand, Niles /191 Voyage to the Red Planet, Bisson /185 Voyages to Utopia, McCord / 186
94 SFRA Newsletter, 193, December 1991 Wall-cr of Worlds, DeHaven / 188 Walkers, Masterton / 187 Wandering Ghost: Lafacadio Hearn, Cott / 193 War of the Ring, Tolkien / 188 War of the Sky Lords, Brosnan /192 Warlock Rock, The, Stasheff / 185 Warrior, Mcquinn / 187 Warsprite, Swycaffer / 1 88 We Can Remember It For You Wholesale. Vol. 2., Dick /192 We') of Futures, Swycaffer / 189 Welcome to Twin Peaks, Knicklebine /186 Whalesinger, Katz /191 What Might Have Been, Benford & Greenberg / 187 What do Draculas Do?, Rees /191 Where No Man Has Gone Before, Armitt / 191 White Isle, Schweitzer / 189 Winter Scream, Curry & Dean / 190 Winterlong, Hand / 1 88 Witch, Pike /191 Witch Across Time, Cross / 187 Witch House, Johnson /191 Witches of the Mind, Byfield / 191 Witching Hour, Rice / 188 Wizardry Compiled, Cook /192 Wm. S. Burroughs at the Front, Skerl & Lydenberg, eds. / 190 Wolfwalker, Harper, T. /185 Woman of the Iron People, Amason / 190 Word and Story in C. S. Lewis, Schakel & Huttar, eds. / 192 Work of Dean lng, Burgess / 193 World of Difference, Turtledove / 186 Worlds of the Federation, Johnson / 186 Wrath of Ashar, Wells / 184 Wren to the Rescue, Smith, S /191 Writing Science Fiction and Fantasy, Dozois / 192 Wyrd Sisters, Pratchett / 186 Yamamoto: Rage in Heaven, Kato / 1 89 Year's Best Fantasy: 2nd Annual Collection, Datlow & Windling, eds. / 189 Young Bleys, Dickson / 191 Youth in Babylon, Friedman & De Nevi / 186 Zenith: Best in New British SF, Garnett / 186
Invite a Friend to Join Membership Application Please mail this completed form with your check for dues, payable to SFRA in U.S. dollars only. Mail to: Edra Bogle, Dept. of English, University of North Texas, Denton, Texas 76203-3827. Dues Schedule: U.S. Canada Individual $60 $65 Joint* 70 75 Student** 50 55 Institution 80 80 Emeritus*** 30 Overseas**** $70 80 60 80 Dues ___ Other __ Total __ If you wish to receive the British journal Foundation (3 issues yearly), add $17 to your dues. $20 airmail Joint membership is for two members in the same household, who will have separate Directory listings, receive two copies of the Newsletter, but will receive one set of the two journals. ** Student membership rate may be used for maximum of five years. *** Emeritus receives only the Newsletter. **** For overseas air mailing of Directory and Newsletter only, add $15. This membership is for calendar year 1992. (This next information will appear in the Directory:) Name:. ______________________________________________ ___ Mailing Address: ____________________________________ ___ Telephone: [Home] [Office] (-)-------(-)--[Fax No.] (_) ____ __ BitNetNo. ____ GEnie Address: ___ My principal interests in fantastic literature are (I imit to 30 words): ____ Repeat last year's entry. (This subscription form may be copied.) 12/91 (This is NOT a renewal notice)
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