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SFRA Review
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Science Fiction Research Association Review
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Science Fiction Research Association
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Science Fiction Research Association
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Eugene, Ore
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Science fiction -- History and criticism   ( lcsh )
Fantasy fiction -- History and criticism -- Periodicals   ( lcsh )
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usfldc doi - S67-00092-n202-1992-12
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TheSFRAReviewPublishedten times ayearfortheScience Fiction Research AssociationbyAlan Newcomer, HypatiaPress,360West First, Eugene, Oregon, 97401. Copyright1992 by theSFRA.Editorial correspondence: Betsy Harfst, Editor,SFRAReview, 2326E.Lakecrest Drive, Gilbert,AZ85234. Send changesofaddress and/or inquiries concerning subscriptions to the Trea surer, listedbelow.Note to Publishers: Please send fiction books for review to: Robert Collins, Dept.ofEnglish, Florida Atlantic University, Boca Raton,FL33431-7588. Sendnon-fictionbooks for review toNeilBarron, 1149 Lime Place, Vista, CA 92083. Juvenile-YoungAdultbooksforreview toMurielBecker, 60 Crane Street, Caldwell,NJ07006. Audio-Video materials for review to Michael Klossner, 410E.7thSt,Apt3, Little Rock,AR72202SFRAEXECUTIVECOMMITIEEPresidentPeterLowentrout, Dept. of ReligiousStudiesCaliforniaStateUniversity,LongBeach,CA90840Vice-PresidentMuriel Becker, MontclairStateCollege Upper Montclair,NJ07043SecretaryDavidG.Mead,EnglishDepartmentCorpusChristiStateUniversity, Corpus Christi,Texas78412TreasurerEdraBogle Department ofEnglishUniversityofNorthTexas,Denton,TX76203-3827ImmediatePastPresidentElizabeth Anne Hull, LiberalArtsDivision WilliamRaineyHarper College, Palatine, Illinois60067

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SFRAReview#202 December 1992InThisIssue:President's Message (Lowentrout).4News & Information (Barron, et al) 5 Editorial Matters (Harfst) 9REVIEWS:Non-FictionAckerman,FamousMonsterofFilmland,No.2.(Klossner)10Botting,Making Monstrous: Frankenstein, Criticism, Theory.(Parish) 10 Carroll,Complete Sylvie andBruno.(Albert) 12 Deleuze,LogicofSense.(Stevens) 12 Golden, ed.,Cut!HorrorWritersonHorror.(Dziemianowicz) 13 Grotta,j.R.R. Tolkien: ArchitectofMiddle-Earth.(Collings) 15 Harrison,Salman Rushdie.(Heller)16Lupack, Alan, ed.Modern ArthurianLiterature.(Williams)18Michalson,VictorianFantasyLiterature.(Sullivan) 19 Nathanson,Over the Rainbow.(Latham)21Olsen,William Gibson.(Levy) : 22 Reichardt,A WebofRelationship.(Williams)24Rodri'guez-Luis,ContemporaryPraxisoftheFantastic.(Attebery) 25 Shelden,Orwell: Authorized Biography.(Barron) 26 Slade & Lee, eds.,Beyond Two Cultures.(Morrison) 27 Terrell,StephenKing:ManandArtist.(Collings)28Treptow, ed.Dracula:Lifeand TimesofVlad Tepes.(Dziemianowicz)29 Wiater,DarkVisions.(Dziemianowicz)13FictionReviews:besShahar,Hellflower.(Gardiner-Scott)31Bujold,SpiritRing.(Baugh) 32 Cherryh,Yvgenie.(Williams)32

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SFRAReview,202, December 19923Crispin, with Marshall,Serpent'sGift.(Gardiner-Scott)33Donaldson,Gap Into Conflict: The Real Story.(Stevens)34 Gap Into Vision: Forbidden Knowledge.(Stevens)34Dowling,Blue Tyson.(Strain) 35 Dziemianowicz,etaI.,eds.FamousFantasticMysteries.(Anglum) 36 Forrest,PhoenixFire.(Strain) 36 Gardner,The Other Sinbad.(Strain) 37 Greenberg, ed.,After theKing:Stories in HonorofTolkien.(Sullivan) 37 Huff,Blood.(Gardiner-Scott) 38 Hughes,The CrystalDrop.(Wytenbroek) 39 Lackey,WindsofChange: MageWinds2. (Strain).40Maddox,Halo.(Reilly).40Mason,Solo.(Reilly)41McHugh,China Mountain Zhang.(Reilly).42Murakami,Hard-Boiled Wonderlandandthe Endofthe World.(Schuyler) 43 Norton, ed.Grand Masters' Choice.(Gardener-Scott).44Reed,The Remarkables.(Collins,W).45Schlam,"Metamorphoses"ofApuleius.(Kratz).46Tarchetti,Fantastic Tales.(Taormina).46Vance,Chateaud'lfandOther Stories.(Schuyler)48Wilhelm,Death Qualified:AMysteryofChaos.(Attebery).48Audio-Video:Canyon,Vampire Princess Miyu.(Baugh)50Henderson, ed.,ForYour Eyes Only.(Klossner)51Thomas,BestofUniversal.(Klossner)521992Annual Index53

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4SFRAReview,202,December1992President's Message:BlowoffsHappenWell, hereitis...thebig blowoff. This isthelast presidential message I'llbesendingthroughthenettoBetsy.DaveMeadisourPresident-elect,andheandIareevennowworkingonthetransition. ThenewEC(Dave, Muriel Becker, JoanGordon,Bob Ewald, Daryl Mallett .and myself) willbemeetinginJanuary,anditisthenthatBetsy HarfstandDaryl Mallett willcompletetheirowntransitiontoDaryl'seditorshipoftheReview.IhavecertainlyenjoyedworkingwithmycolleaguesontheoutgoingEC-withoutBetty,ourtaxexemptionwouldstillbehanging fire; Murielhelpedbuildourranks; Edra, BetsyandDavedidtheyeoman'sworkoftheorganization,andasalwaysayeomanworksa lotharderthana lord (or president). Betsydeserves the special thanksofourAssociation forsoskillfullyandenergeticallydevelopingourNewsletter intotheSFRAReview.Somelastreminders'ereI go:Ournextannualmeeting,SFRA24in Reno, promisestobespectacularandIhopeyouwill allmakeeveryefforttobethere.I,forone,amverymuchlookingforwardtoswappingtall tales oftheSixtieswithTimothyLeary. Those interestedinhostingour1994annualmeetingshouldcontacteithermeorDaveMead.Asthis willreachyouwhentheholidayspirit isabroadintheland, letmeremind youofourScholars Support Fundand,too,ofhowhelpful pack agesoflife's necessities (and small luxuries) will provetoourcolleaguesintheformer Soviet Blocwhereeconomicconditionscontinueto worsen. TheLATimeshasjust reportedthattheaverage age atdeathisdeclining precipi touslyinRussia.Wemightnotbeabletosavetheworld,folks,butwecanhelpourfriends. Pleasedosomething. The effortsofthepublicationscommitteeheadedupby Daryl Mallett shouldbecomingto first fruitionsoon,yieldingmoreopportunities formemberstopublish. DarylistalkingaboutanSFRAPublications imprintwithBorgo,andheandGaryWolfareworkingonaconferencevolume.Watchfor futurepublicationscommitteeannouncementsintheReview.FredPohl'snewGatewaycomputergameisgreatfun. I'mcurrentlyattemptingtounderstandthelife cycleandbreedingpatternsofthealiensofAleph 4thatI mightgetcloseenoughtoacacheofHeecheeartifactstosnatchthem.AndkeepyoureyesopenforThe Phoenix in Flight,thefirst bookina fivebookTORSFseries by my wife (as Sherwood Smith)andDaveTrowbridge. IknowI might bethoughttobeatadbiasedinrecommending it but Isuspectyouwon'tbedoubtingmyobjectivityonceyoureadit.

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SFRAReview,202,December19925SFRAisonline on the GEnie network -ifyou have a modem, you can join usforonly $4.95/month(USD).Set your modem to half duplex and 2400baud,dial 1-800-638-8369 and upon connectiontypeHHH.Atthe U#= prompt en ter XTI<00544,GENIE and press return. You're in. just find your way over to theSFRoundtable and ask a sysop admissiontotheSFRACategory. Becauseofstrongandsometimes blinding prejudice againstSFscholar shiponthe partofsomeofourmoremundanecolleaguesinthe academy, the tenure and promotion processes of junior facultywhopublish in the field can be difficult. Senior scholarswhowould be willing to serve on a trouble shooting committeetorenderallappropriate assistance to those whose ten ure and promotion processes go awry shouldcontactmeorDave Mead. That's all, folks -seeyou in RenolPete LowentroutNEWS&INFORMATIONFacsimileReprintsAnnouncedWoodstockBooksofOxford,England, is publishing a seriesofclothbound facsimile reprintsina series called Revolution&Romanticism1789-1834,chosenandintroduced by jonathan Wordsworth. 76 titles ap peared inthefirst three series, withthefourth series being issuedinspring! summer1992.Amongthenewtitles arethe1831 (2d) editionofFranken stein($48) and De Quincey's Gothic fantasy,Klosterheim,1832 ($55), along with Maturin's gory melodrama,Bertram,1816($40). Printed on acid-free paper,theyare distributed by Publishers Distribution Center, BoxC831,Rutherford,Nj07070, 201-939-6064, which can supply more details.-NBFantasticMagazineIndexNearsCompletionIfany index of English-language fantastic fiction magazines has the right to be called definitive, it's Science Fidioo, Fantasy&Weird Magazine Index: 1890 1990,the camera ready copy for which will be delivered to Garland Publishing this fall.Tobe publishedinthree 500+ page volumes,oneeach providing ac cessbyauthor, title and magazine contents, the century of coverage will include more than 600 magazi nes, a great many of them extremely rare or obscure, and more than 11,000 individual issues. The index was compiledbyStephenT.Miller, WilliamG.Contento and KennethR.johnson, working directlyfromthe issues themselves. Much new informationisprovided, such as informationonpseudonyms not previously known. This index will largely supersede the mul titude of partial indexes published since World WarII.Watch these pagesforthe price and dateofpublication.-NB

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6SFRAReview,202, December 1992TatsumiEssayCollectionReleasedThe RhetoricofContemporary Science Fictionby Takayuki Tatsumi was a June1992title from Tokyo's Iwanami Publishers, /US$17,266p. The seven chaptersandbridge material are allinJapanese, and some has been extensively revised from its earlierappearanceinEnglish. This book follows hiseditedwork, also in Japanese,Cyborg Feminism: Haraway, Delany, Salmonson,Treville Publishers, Tokyo, May 1991,.-NBTheLibraryofCongressMarchesOn,SortofInSFRANewsletter183, page 5, I summarized the belated effortsoftheLibraryofCongress to treatSFseriously from a bibliographic standpoint.Ina September letter, Joseph Mayhew, recommending officer forSF,said LC's selection officer "has agreedtoseparate out science fiction and fantasy mass market-only collections and anthologies and route them for cataloging. The bulkofthe other mass-market-only editions will continue to be warehoused unsorted and uncataloged. However exceptionstothis treatmentcanbe made on a case bycasebasis. Thisiswhere I need help from thosewhoknow of significant works published mass market only."(Youcanwrite him at 7-SResearchRd,Greenbelt, MD20770with suggestions.) Some very lim ited efforts have been madetoacquire magazinesandother serial publica tions. He alerts publishersofmagazines thatLCwould welcome two deposit copies of each issue, which costs only the postage.Itisonly copyright reg istration that costs money (a modest one-time sum), not simple deposit. About the time Mayhew wrote me, the summer 1992Cataloging Service Bulletin57 was issued byLC,which discussed the ClP program.Ifyou look at the backofthe title pageofalmost any American hardcover published during the past two decades you'll seeClPinformation-CataloginginPub lication, a slightly abbreviated version of what youwereused to seeingonthe 3x5 index cardsinlibrary card catalogs, which have increasinglybeenconverted to electronic indexes. The bulletin saystoreject for ClP treatmentallmass market originalsorreprints, along withothercategories, like van ity press publications. Soitappearsthat differentdepartmentsofLCare working at cross-purposes. So much for library leadership.-NBBookNotesThis is the rubric underwhichI'll put miscellaneous notes not worth separate entries. Muchofthe information for this is supplied by Michael Klossner, a catalog librarian at the Arkansas State Library, andtheReview'sANeditor. A 1991 title from McFarlandisKenneth VonGunden's

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SFRAReview,202, December 19927Postmodern Auteurs: Coppola, Lucas, De Palma, SpielbergandScorsese,200p., $25.95. A mixedreviewinChoicefound VonGunden'sapplication of postmOOernism "somewhat mechanical, more intentonlabelingthanon exploration," but judged his readingsofindividual filmsofsome value.IISome books achieve a "cult" status, especiallyoncollege campuses, fromCatcherinthe RyetoStrangerin aStrange LandtoThe Hitchhiker's Guide to the Galaxy.Fiftysuch books, from1774tothe Adams book in 1979, are the subjectofshort essays by Thomas Reed Whissen (Wright State Univ.)inClassic Cult Fiction:ACompanion to Popular Cult Literature,Greenwood,1992,310p., $65. He includes a chronologyof83 major works of cult fic tion, a listofthe firstandcurrent editionsofthe50selected for examination,anda briefannotatedbibliographyofworks for further reading.IIJerry Griswold surveys adozenclassic children's storiesinAudaciousKids:ComingofAgeinAmerica's Classic Children's Books,Oxford UP, 1992,320p., $24.95, twoofthemThe WizardofOzandTarzanofthe Apes(Burroughs buffs may resent the children's book label).IIFredric Wertham'sThe Seduc tionofthe Innocenthadconsiderable influenceonthecontentofcomicbooks backinthe '50s. Between 1949 and 1955 British media railed against "American-style" horror comics,andParliament passed an act making itillegaltopublishorsell any material judged harmfultochildren. The cam paign to pass this actisthe subject of AHauntofFears:The Strange Historyofthe British Horror Comics Campaignby Martin Barker, originally pub lishedintheUKin1983andrecently reprinted by the Univ. PressofMis sissippi, 235 p., $35 cloth, $14.95 paper. A new postscriptisincludedinthe reprint.IIBythe time you read thisDCComics will have (AHHIEEEIpawlBIFl)endedthelifeofSuperman after54years. The peopleinMetropolis, Illinois, will ignore this andcontinuetohold a four-day conventionthatattractsabout50,000eachJune (take thatl, Hugo convention-goers).1/Ifyou're a video nut, you mightwantto investigateL.A.Morse'sVideoTrash&Treasures:AField Guide to the Video Unknown,HarperCollins, Toronto,1992,368p., $C5.95.IIImage Publishing, 2083 Hempstead Tumpike, Suite150,East Meadow,NY11554,resembles Pioneer Publishing,LasVegas. Both publish fan-oriented trade paperbacks devoted to the least distinguishedoffantastic cinemaandTV.A recent Image titleisWhenDinosaurs Ruled the Sereen,1992,106p., $12.95. Speakingofdinosaurs, the MemphisZoohad a "Dinosaurs Live" exhibitof21noisy, moving replicasoftheoriginals which departedabout65 million years ago. About six adultsdemandeda refundoftheir $2.50whenthey learned the dinosaurs weren't the real thing.IIJohnIzOOexaminesThe FilmsofNicholas Roegin a summer title fromStMartin'S, $39.95. Among the films areDon't Look Now, The Man WhoFelltoEarthandThe Witches.A SeptemberStMartin's titleisChildreninthe

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Moviesby Neil Sinyard,whichcelebratesitssubject,withonechapter("Little Horrors") dealing with childreninfantasyandhorror films.//13es says written by classicists attempttolinkClassicsandCinema,ed. by Mar tinM.Winkler (Bucknell Univ. Press,1991,283p., $21). The films dis cussed range fromClashofthe Titans, Returnofthe JeditoChinatown.TheChoicereviewer says "what resultsisso-so classicsandpretty dismalcinemastudies. "-NB Address Changes Afterthe1992SFRADirectorywasmailed,thefollowingaddresschanges havebeenreceived: Bartter, MarthaA.2413N.East Street Kirksville,MO63501-2113PH:816-627-2519or Div.ofLang.&Lit.310 McClain HallN.E.MOSt. Univ. Kirksville,MOHilgartner,C.Andrew 2413N.EastStreet Kirksville,MO63501-2113Hoffman, JamesA.479 44th Avenue CourtEastMoline,IL61244Lehman, Steve 13 Horizon Pte. Claire,QuebecCanada H9S5V1PH. 514-426-8889Election&AmendmentResultsHere aretheofficial resultsofthe1992SFRAelectionballots: David Meadisthe President; Muriel BeckeristheVice-President; JoanGordonis the Secretary;andRobert EwaldisTreasurer.AlloftheAmendmentstotheBylaws passed.ElizabethAnneHull

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SFRAReview,202,December1992Editorial9Whileitisvery easy to leave a job that you dislike,itisvery difficult to leaveonethat you enjoy. I know a bit about both situationsnowthat I am turning overtheeditorshipoftheSFRAReview.I am not going to miss the printing deadlines, the proof reading, nor the editing/cutting/rearrangingofnine page reviews down totwopages. Yet, I will miss the challengeoftry ing to publish, justonce,an issue withoutanymistakes (never succeeded);oftrying to retain the sense and continuity of reviews which needed exten sive editing;oftryingto be objective about reviewsofbooks I had read and interpreted from a completely opposite viewpoint. Most of all, I will miss the people contacts; someofyou I have never seen face-to-face, yet you havebecomevalued friends through reviewsorletters, both within the national and the international communities; othersofyou, especially the Executive Committee, have become almost like family. I have enjoyed working with allofyou and I will look forward now to seeing you all at our yearly con ferences. Daryl Mallett will take over the editorship withtheJanuary/February issue.Alleditorial correspondence, as well asannouncementsand other news, should thus be sent to him effective immediately. Hishomeaddressis11451 Magnolia Ave.,#234, Riverside,CA92505. Heisalso an editor at Borgo Press. Hishomephone: (714)689-3882;B:(714)884-5813;FAX:(714) 888-4942. The editorial transitionisgoing very smoothly, and I would like to wish Daryl all the best in hisnewposition.Betsy Harfst

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10SFRAReview,202, December 1992Non-FictionALegendinhisOwn MindAckerman, ForrestJ.Famous MonstersofFilmland, No.2.Universal City,CA:Hollywood Publishing, 1991.162p.$19.95.noISBN.Distributed by Magiclmage Filmbooks,740S.6th Ave., Absecan,NJ08201.Ackerman published181issuesofhis juvenile magazine,Famous MonstersofFilm land,from1957to 1982. This volume includes black-and-white repro ductions, at one-quarter original size or less, of the cover art from issues51to 1OO----only40issues, since Ackerman, with typical eccentricity, skipped from number 69 to number 80. Except for a collectionofaccolades for Boris Karloff which appearedinFMafterthegreat star's deathin1969, Ackerman reprints littleofinterest from the magazine, probably because there was littleofpermanent interestinFM.He mostly reminisces about his fellow fans and especially about hisownrelationships with the famous. About half the many illustrationsareofAckerman with his friendsorwith filmmakersandstars; the others are interest ing stills from his vast collectionofrarefilmmaterials, mostofitnowsold to a Berlin museum. The most valuable tidbitisa three-page 1932 treatmentof The InvisibleManbyFrankensteindirector James Whale, intended for Karloff and quite different from Whale's 1933filmwith an invisible Claude Rains. Ackerman has parlayed his decades as a hanger-oninthe movie industry into a reputation not only as the world's greatestfanbut also as a significant figureinthe history of fantasy. Testimonialsinthis volume from Stephen King, film makers Steven Spielberg, John LandisandRick Bakerandfilm scholarsBillWarren and PhilipJ.Rileycomeclose to endorsing Ackerman's claim that he "saved" fantasy from philistines during the dark daysofthe Eisenhower era. Actually fantasy was in great shape during the 1950s, with several big-studio productions as well as the work ofAlP,Hammer and Harryhausen. Ackerman's many self-aggrandizing publications areforthosewhoshare not only his loveofold movies but alsohisenthusiasmforhisownlegend.Michael KlossnerARigorousStudyofFrankensteinBotting, Fred.MakingMonstrous: Frankenstein, Criticism,Theory.NY:St.Martin's; Manchester: Manchester Univ. Press, 1991vi+214p.$59.95.0 7190-0360-0;$19.95.-3608-9. Fred Botting says that, in addition to the film,TV,cartoon and science-fic tion monsters inspired by Shelley's novel, "there aremanymoremonsters spawned byFrankenstein:literary, politicalandcriticalintheir form."Inthis

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SFRAReview,202,December199211carefully researchedandextremely challenging book, he examines these mon sters or Nmonstrous" ideasintheliterary, political and critical realms.NMydouble engagement, withFrankensteinand its criticism, attemptstochallenge andundostrategies aimed at closure and alsototrace some ofthelines of divergence made visible bythedisruptive reflectionsofandonthetext." Among the elements Nmade monstrous"isthereader,whocreates hislherown"monstrous texts, whose meaningcanneitherbecontrolledorunified." Reading Botting's book, I felt this prophecy fulfilling itself, as I struggled withthecritical ideashejuxta poses and places in both complementaryandconfrontational positions;inthe process I recognized myowninclination toward closure, toward determining and articulating a useful, satisfyingwayofconsidering the text, an inclination Botting would regard, I think, as reductiveandlimiting. Thesesectionsareprecededby a lengthyintroduction,primarilyconcernedwith post-structuralisttheoryaboutrelationshipsamongwriter, au thor, text, critic,andreaderwhichconcludesby relatingtheconceptsoftheFrankenstein storytotheprivatizationoftheelectricity industry in Britain. Partofthefirst section concernsthevarietyofconflicting critical theoryonthe novel re thequestion ofitsGothic and/or Romantic derivation, the framework (concentric, nested,oropen-ended),andtheuseoffeminine vs. masculine signifiers inthetext. Theotherpart focusesontheintroductiontothe1831 editionandhowit complicatesandopensupthefiction ofthenovel itself. Thesecondsection discusses biographical material,examinesthewaysinwhichpsychoanalysisappliedtoatextcanbeusefulordangerous,andendswith a discussionofcritical viewsofwhatFrankensteinmaybeaboutinthecontextofpastandpresenttheoriesaboutgenderandsexuality. The third section provides anextendeddiscussionofcritical applicationofFreudtoFrankensteinandtherevolutionary politicsofthe late eighteenthcenturyandthewayinwhichthosepoliticalupheavalsaffectedandarereflected inFrankenstein.The sectionconcludeswith a discussionofscienceandart,examiningtheoriesaboutalchemyandmodernscienceastheyre latetotheconceptsandphilosophiesexpressedinthenovel.Making Monstrousis rigorous reading,andinplacesdifficult forthoseofus less familiar with post-structuralist theoryandlanguage. However,theseriousstudentofShelley,Frankenstein,historyandpsychologyandtheirimpactonart, feministapproachestoart,oranynumberofothersubjects, will find Botting's book avaluableexperience. He moves from critictocriticandfrom critictotextwithclarityandcare,andhis attentiontothedetailsofthenovelallowhimtoaccomplishhis stated aim:toengagehimselfandus readers withthetextanditsmanyandvaried critics,andtotracefor usthe"linesofdivergence"hisstudymakesclear.M.Parish

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12SFRAReview,202,December1992UnwieldyText,AttractivePackageCarroll,lewis.The Complete Sylvie and Bruno.San Francisco: Mercury House, 1991. xvi, +394 p. $30. 1-56279-009-9.SylvieandBrunowasfirst published in1889,andSylvieandBruno Concluded,in1893.Anunnamednarrator-ostensiblya surrogate forCarroll-recountshis encounters with a tiny fairy brother and sister, Sylvie and Bruno, alternating their wanderings in such countries as [Ifland and Outland with a realistic narrationofthe desultory amorous pursuit by the narrator's young friend, Dr. Arthur Forester,ofladyMuriel Orme. Carroll avoids a straightforward framing device, employing instead a sinuous narrativeinwhich the fairy elements intrude with increasing urgency upon the realistic ones. While the narratoris,initially, the only character who moves between thetworealms, an initial confusing ofladyMuriel with Sylvie breaches the conventions that separatethem. Bruno's affected child ish patter, interspersed with sharp comments on adult foibles,isoneofthe more annoying featuresofa work that Brian Stableford describes as being a failure of an "abysmal magnitude in Barron'sFantasy Literature:Sylvieismeant to be the incarnationofchildish feminine grace and magic, but she lacks the pragmatic nature that makes Carroll's Alicesoappealing and is, finally, only slightly less annoying than the bumptious Bruno. The Picasso-like semi-abstract illustrations by Rene' Flower are an attrac tive complement to the text.Infact, their sparing, effective use supplies a discretion lacking in Carroll's text. The editor, Thomas Christensen, claims that the importanceofSylvie and Brunoisinthe wayit"release[s] the novel from Victorian notionsofrealism."Inany event, Mercury House has pro vided an attractive presentation for the unwieldy text, although the appealofthe bookissurely more for the scholar and bibliophile thanforthe vast publicofthe two Alice books.Walter AlbertLewisCarroll&StoicPhilosophyDeleuze,Gilles.The LogicofSense,trans. by Marklesterwith Charles Stivale, ed. by ConstantinV.Boirdas.NY:Columbia Univ. Press, 1990. xiv + 339p.$45.0-231-05982-5.london:Athlone Press, 0-485-30063-X. This book was originally publishedinFrancein1969, and has been trans lated recently for this edition. Deleuze, the authorofseveral other volumes devoted to philosophicalstudies, was a professor of philosophy at the Univer sity of ParisVIIIuntil he retiredin1987. Although the jacket blurb comments on the author's "Witty style," the reader will be hard pressed tofindexamples

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SFRAReview,202,December199213ofit;the overall toneisexceedingly dry and pedantic. This may bedueinpart to the translation, since languageisfrequently a barriertonuances. Overall, the translator did a creditable job, although there are unfortunate stumbles with homophones, such as the use of "yoke" where "yolk"isobviously intended. However,theprimary interest shouldbeinthetext itself. Here, the reader should be warned that thereisonly a tenuous linktofantasy and sciencefiction. Although the book begins with a discussionofthe worksofLewis Carroll (primarily the two "Alice" books, andSylvie and Bruno),they are used as a basis fortheauthor's expositiononStoic philosophy. Thefurtheronedelves into the book, the more remote the discussion of Carroll. Only, the first two-thirdsofthe bookisnewtext, the remainderisan Appendix (consistingoffive previously published articles) and some 30-odd pagesofnotes.Inthe main text, Deleuze uses Stoic philosophy, sexuality; language, psychoanalysis, morality,andothertools in an attempt to link paradox and "nonsense" to their "real" (hidden) meaning. This presupposes that the apparent nonsensical, or fantastic, elementsinCarroll's (and other's) works have some underlying inner meaningofwhich the authormayormay not be consciously aware. (Thisisreminiscentofthe possibly apocryphal taleofanauthorwho,after listening to a lecturewhichattributed all sortsofhidden meanings to the author's work, introduced himself to the lecturer and disavowed anysuchdeepermeanings. The lecturer's reply was"Whatmakes you thinkyouareanexpertonwhatyou wrote?") Chapter 29 of thisbookistitled"Goodintentions are inevitably punished" and this review may seem to be a sterling exampleofthat idea. Thatisnotreally the intent; thereismuch here thatisworthy of further thought. However, the bookisdefinitely notforthe fantasy andSFaficionado,itiscertainly not an easy book to read, anditwillundoubtedly appeal to a very narrow audience. Recommendedforthose who are seriously interestedinphilosophy.W.D.StevensHorrorFilm:46PerspectivesGolden, ChriStopher, ed.Cutl Horror Writers on HorrorNY:Berkley, April 1992. x+297p.+24photos. $8.95 0-425-13282-X. Wiater, Stanley.Dark Visions: Conversationswiththe Mastersofthe HorrorFilm.NY:Avon, 1992. x+228p.$10. 0-380-75991-8.Inrecent years horror film has had a profound impactonthe imagery and narrative formsofhorror fiction, reversingtheearlierdependenceofhorror moviesonthetexts from which theywereadapted. Eachofthese booksisto some extent a reflectionofthis shifting inter-relationship between horror's visual and written mediums.

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14SFRAReview,202,December1992Cut!isthe more ambitious of the two, offering a spectrumofviewpoints from24horror writers and criticsonhorror films. Though the essays cover an enormousamountofterritory, from Tod Browning's1932suppressed cinema classic FreakstoJerry Zucker's1990GhostandtheAmericanBmovies of the 1950s to the contemporary Wagnerian epicsofDario Argento, the orderingofthe book's "chapters" (alphabetically, by author) and their widely veering quality indicates a near absenceofeditorial oversight.Onewonders, for example,howwelltheprojectwasdescribedtoNancy Collins, whose "The PlaceofDreams"islittle more than a nostalgic valentine to the movie theatreofher childhood,orwhatauthority Kathryn Ptacek claimed to write "You AreWhatYou EatlWatch: Cannibalism in Movies," which limitsitsdiscussion to threefilms-MotelHell, fating Raoul, and Consuming Passions-that are less than representativeoftheir subgenre. Interview pieces with John Farris and Anne Rice, conducted respectively by Kelley Wilde and Katharine Ramsland (who has contributed her own overblown study of Alan Parker's Angel Heart) are so focusedonthewriters-neitherofwhom has had a recognizable impactonthefilmindustry-thatonecan only as sume they were included to beefupthe appealofthe names listedonthe contents page.EdGerman's "Several Hundred Words About Wes Craven"isone of several pieces that are too brief and inconsequential to say anything substantial about its subject.Forallthe apparent randomness by which contributors settled upon their subjects, severalofthe essays work together well. Peter Atkins' interviewofClive Barkerandarticles by Ramsey CampbellandJohn SkippandCraig Spector form a triptych on out-of-genre films that fall within the purviewofhorror, andRayGorton's comparisonofthe1942ValLewton/Jacques Tourneur noirc!assic Cat People (about which virtually everyoneinthe book has something nice to say)toPaulSchrader'sinferior1982remake serendipitously complements Charles Grant's paeantoblack-and-white films which immediately follows it. Individual standouts includeT.Liam McDonald's brief descriptive historyofthe Hammer horror films, ChelseaQuinnYarbro's analysisofFreaks asseenatthreedifferent ages, Philip Nutman'sSOCiologicalcritiqueofthefilmsofDavid Cronenberg, and Paul Sammon's study of David Lynch, which ultimatelyliftsitselfoutofthe sloughofpersonal vendetta to intelligently criticize Lynch's status as a visionary rebel. And two essays are exceptional piecesoffilm criticism: StephenR.Bissette's "Higher Ground: Moral Transgressions, Transcendent Fantasies," which explores the political subtextsofFlatliners, Ghosts, and Jacob's Lad der as representatives of the subgenreofafterlife films; and Douglas Winter's comprehensive overview, "OperaofViolence: The FilmsofDario Argento."

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SFRAReview,202, December 199215WhereCut!suffers somewhat from lackofeditorial guidance, Dark Visionssuffers from too-great consistency. Wiater's mllectionof22 interviews withfilmpersonalitiesisa companion volumetohis earlier mllection of interviews, Dark Dreamers(1991), and as with that volumeitsquestions sometimes seem dictated by rote rather than determined by the responsesof the interviewee. Nearlyev ery personinthebookisaskedhowthey got their start intheindustry, whether they would consider doing films outsidethegenre,andwhattheir attitudeistowardthecensorshipoffilms. While the responses are never completely bor ing, the interviews become monotonousifread at length inonesitting. To his credit, though, Wiater has assembled a motleycrewofdirectors (Clive Barker,WesCraven,JohnCarpenter,DavidCronenberg), writers (MichaelMcDowell,WilliamF.Nolan), actors (Robert Englund, Caroline Munro, Vincent Price),producers(Gale Ann Hurd),make-upartists (StanWinston,Dick Smith),andpublicists (Paul Sammon),eachofwhomhassomething interesting to say about hisorher workinthe genre. And becausehedoesnotdiscriminate against mavericks (includingtheking-of-'em-all, Roger Corman)andindependents his book carries someofthe most substan tialcoverageyetofSam Raimi, Brian YuznaandStuart Gordon. The best interviews succeed almost in spiteofWiater's questions. David Cronenbergisrefreshingly candid in his discussionofthe personal philosophi cal struggles that give rise to his disturbing treatmentsofdecay and dissolution. Sam Raimi, George, Romero and John Carpenter all elaborate their remarksonfilmcensorship to express theirconcemover the repressive political conserva tism such censorship seems to portend. AndLarryCohen and Roger Corman reveal themselves to still be modest entrepreneurs rather than the auteurs they are sometimes treatedas.For the mostpart, though, the mnversations barely rise above the levelofcocktail party chatter.Inall fairness to Wiater,onesuspects this has less todowith his skills as an interviewer than with the fact that his sub jects are best representedonthe silver screen rather than the printed page.StefanDziemianowiczRecycledTolkienGrotta, Daniel. J.R.R.Tolkien: ArchitectofMiddle-Earth. Philadelphia,PA:Running Press,1992.197p.$24.95.1-56138-112-8.This editionisa large-format reprintcommemoratingthecentenaryofTolkien's birth. Originally published in1976and revised in 1978, the studyisa disconcerting mixture of insight and assertion. Grotta acknowledgesinhis new preface and original Author's Notes that he was denied access to Tolkien's family recordsandthat consequently the biography was basedonpublic records, in terviews with the few family friends willingtotalk with him, and the sketchy materials availableinthe early 19705.Asa result, the book frequently spends

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16SFRAReview,202,December1992lessspace onTolkienandTheLordoftheRingsthan on cultural or historical backgrounds, the educational systeminBritishuniversities, the structuring ofBritishmilitary units, or Grotta's speculative ancestryforthe Tolkien family (which he presentsasprobabilitiesinthe opening chapter but admitsinthe Author'sNotestobemostlyspeculation). There are no bibliographic references eventhoughGrottaoftencitesotherwriters;the bibliography mnsists ofsixworkspublishedin1974orbefore;andhisnotes arelessscholarly than anecdotal.Andin spite ofthebookbeing presumablyiritendedfi:>r Tolkienfans,he giVes detailed p1
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SFRAReview,202, December 199217delightful Salman Rushdie. Born a Muslim in India intheyearofindependence,1947,educatedin England, spendingtheschool vacationsofhis young adulthoodinPakistan, writing in English, Rushdiei.saninternational author who draws upon and has helped to form contemporary world fantasy and magic realism. Rushdie's success and popularity as a novelist began with hismuchhonoredMidnight's Children(1981),butheburst upon a larger worldstage in1989when,in response to the publicationofTheSatanic Verses(1988), Iran's Ayatollah Khomeinicondemnedhimandhis publishers to death, offering a rewardtofaithful Muslimswhohelptoslay him and martyrdom to thosewhodie intheattempt. This condemnation remains in force in1992,and Rushdie, a British citizen, continues to live in hiding and under continuous police protection. Harrison characterizes Rushdie's first published novel,Grimus (1975),as science fiction,itspremise being the existenceofmultiple interpenetrat ing dimensionsandthe possibilities of travel between them.ButHarrison also pointsoutmany elementsoffantasy, allegory, andothergenres in this apprenticeship novel.Midnight's Childrenlooks more like fantasy,oneofits central ideas being the birthinIndiaofa thousand andonechildren,eachwith different magical powers,inthe first hours of Indianindependence.LikeGrimus,however, this noveldrawsonmany generic possibilities, and seems best characterized as magic realisminthemodeofGabriel Garcia Marquez. Harrison pointsouthowthemain characters,innameandaction, evoke central membersofthe Hindu pantheon, and he characterizes this novel as Rushdie's Indian/Hindu novel. Magic RealismbecomesRushdie's primary mode as showninhis subsequent major novels,Shame(1983) andTheSatanic Verses.Since going into hiding, Rushdie hascontinuedto publish.Harounandthe SeaofStories(1990)ischildren's fantasy.Imaginary Homelands: EssaysandCriticismappeared in 1991. Harrison's presentationisadmirably suited to readers unfamiliar with the culturalandpolitical background of Rushdie's fiction.Inadditiontotheusual plotsummariesandtechnical analysesthatare hallmarksofthe Twayne series, Harrison provides helpful and balanced summariesofcen tral featuresofHinduismandIslamthatare essentialtounderstanding Rushdie,andhe also provides a fairlycontinuousfilling inofhistorical materials that help to make Rushdie understandableto Western readers,whooften lack knowledgeofand appreciation for the complexitiesofHindu and Islamic cultures. Though he givessomeattentiontoRushdie's nonfiction, mainlywhenit helpstoexplainthefiction, Harrison presents detailed dis cussions onlyofthe novels, except forHarounandtheSeaofStories,which he does not discuss.

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18SFRAReview,202,December1992Harrison seesonecentral aim of Rushdie's fiction as illustrating the valuetomodern civilization of the multiculturalism that results from free immigra tion andtheflexible interaction of many cultures. Rushdie contrasts theenhancedabilitytochangeanddevelopinopen"melting-pot" cul turestothemainmoderncountermovementoffundamentalism. For Rushdie, fundamentalism, especially but not exclusivelyamongMuslims,ischaracterized by the reificationofa text,theassertionthata scripture haseludedthelimitationsofthehumanswhowroteandcompiledandnowinterpret ittobecomethefinal, absolute,unchangingwordofGodand,therefore, the justification of all actions that those with sufficient power claimtobeconsistent withit.This viewisnot the only reason for Khomeini's con demnationofRushdie. Harrison carefully and briefly presents the complexi ties of this controversy, showing that wrong-headed as Khomeini's condem nation is, Rushdie rather recklesslyopenedhimselftoMuslim anger, espe cially given the historyofWestern prejudice against Islam. There are other useful books on Rushdie, but with the exception ofTimo thy Brennan's Salman Rushdieandthe Third World (1989),these deal mainly with the controversy over The Satanic Verses. Readers wanting a solid, in formative introductiontoRushdie's fiction should begin with Harrison.TerryHellerUsefulArthurianAnthologyLupack, Alan, ed. Modern Arthurian Literature:AnAnthologyofEnglishandAmerican Arthuriana from the Renaissance to the Present.NY:Garland,1992.494p.$75.0-8153-0055-7.$18.95. -0867-1. This anthology is, as far as I know, the first devoted to post medieval Arthurian literature.Itisorganized into sections which runfromthe renaissance to the twentieth century, and includes important Arthurian selections from John Leland's The AssertionofKingArthure (1544) to Berger's Arthur Rex and a poem by Valerie Colander dated 1989. Although the Victorian revivaliswell repre sented, manyoftheless well-known selections, such as Wordsworth's ''The EgyptianMaid" and pieces by modempoetslike John Masefield, Richard Wilbur and John Oardi, are particularly welcome,asthey wouldbedifficult to assemble otherwise. A few long works like Spenser'sFaerie Queene are necessarily rep resented by an excerpt, but Lupack avoids brief snippets and includes as many complete works as possible. He sensibly foregoes book-length works like Mark Twain's Connecticut Yankee which are widely available. The editing assumes almost total ignoranceanda very limited vocabu laryonthe part ofitsreaders: a literate reader may find the footnotes irritating

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SFRAReview,202,December199219but Lupack undoubtedly knows his intended undergraduate audience alltoowell. Almost any reader, however, will findtheintroductionstoeachsec tion both usefulandinformative. Taken together they constitute a concise historyofArthurian literature after Malory. There is also a selected bibliog raphy of secondary works. Lupack is clearly widely readinArthurian litera tureandcriticism-theonlyaccountmoredetailedis Raymond H. Thompson'sThe Return from Avalon(Greenwood Press 1985),whichalso containsanextensive bibliography of modern Arthuriana. This anthology would be very useful for undergraduate courses, although some students may find even the paperback price a bit steep andthe$75 for the hardcover out ofSight.Your library will probablywanta copy, andifyou are interested inmodernversionsofArthurian material, you will too.LynnF.WilliamsFantasyasSubversionMichalson, Karen.Victorian Fantasy Literature: Literary Battles with Church and Empire.Lewiston,NY:The Edwin Mellen Press,Box450, Lewiston,NY14092, 1990.vii+292p. $89.95.88946-378-6.The firstsentenceoftheprefacetoVictorian Fantasy Literaturereads, "Certain readers willobjecttomy subject as well astomy approach." She then goesontoexplain that sheisdealing with fantasy literature (her sub ject), always considered less important than realistic literature, and that her approach will analyze it from a biographicallhistorical/cultural perspective because shedoes"notbelieve that texts areproducedin vacuums." Her defensiveness is understandable, especially assheseemstohavecometofantasy rather recently in heracademiccareer, but itisultimately superflu ous. Both her subject matter (especially considering the authors she choosestoexamine)andtheapproachare valuable,andshe shouldbeconfident enoughtoletthemstandontheirownmerits. Afterchapterson"Fantasy, Early Nineteenth-Century Reviewers,andSamuel Taylor Coleridge"andon"Fantasy and Christian Evangelicalism," Michalson examines Ruskin'sThe Kingofthe Golden River,MacDonald'sPhantastes,andKingsley'sThe Water Babies.asreactions againstorattacks on various aspects of organized religion. Michelson then discusses "Fantasy and Victorian Education," explaining boththemoral and civic orientationofnineteenth-century British education,andexamines Haggard'sShe,Kipling'sThe Jungle BooksandPuckofPook's Hillas reactions againstorattacksonnineteenth-century British imperialistic attitudes. Eachauthorchapterisdivided intotwosections:thefirst deals withthehistoricaland

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20SFRAReview,202,December1992cultural influencesontheauthor'slifeandthesecondpresentstextanalysis within its historical context. Overall, Michalson argues that both organized religion and politics (sup ported by education)innineteenth-century Britain not only emphasized re alism but made realism a majortenetin their respective ideologies.Asa result, then, bothhadtosee fantasy as subversive. "Writing fictionwasconsidered by many evangelical Christians to be tantamount to telling lies, and many of them believed that excessive novel 'reading could lead to insan ity." Inspiteofthis pervasive attitude, Ruskin wrote a fantasy novelofChris tian redemption, MacDonald used fantasy to suggest that the spiritual world could be reachedonlythrough the imagination, and Kingsley, subverting both Christian and scientific theories, offered a worldinwhich randomness and chaos are important forces.Asthe influenceofthe church waned, the influence of politics increased, and realistic English literaturebecameboth"ameansofinstilling proper morality and right behavior into students, and ... an evangelizing instrument of the cultofEnglishness." Neither Haggard nor Kipling wrote stories which could be considered as presenting proper role mod elsfor"aspiring colonial workers." Haggard's duo, inSheisnot the typical male-hero-and-companion of the conventional adventure, but rather actintraditionally feminine ways; and Kipling'sPuckpresents an empireofequals, not an empireinwhich "modern" groupisboth masterandsavior to a "primitive" one. I have only a few quibbles with this book.Intermsofsubject matter, I wish William Morris and the Pre-Raphaelites had received some extended treatment; muchoftheir rebellion may not have been so directly oriented toward church and state, but understanding their rebellion makes a stronger case for the rebellionofthe authors Michalson does examine.Intermsofstyleortone, I am bothered that Michalson occasionally resorts to verbal "elbowinthe ribs." The concept of "fantasy as subversive literature" has been stretchedtothe breaking point (or beyond)inthe past few years. But I thinkthatMichelsonisonthe right track here. Her materialiswell-researchedandcogently presented, and I find her willingness to discuss textsinterms of the cultural matrices in which they developed not only logical but admirable. While I have some fiscal reservations about recommending a book that costs Michalson'sVictorianFantasyLiteratureisdefinitely an important look not only at major fantasy worksoftheperiod, but alsoatwhy realistic literature did makeitinto the canon and fantasy literature did not. Have your library purchase it,c.W.Sullivan111

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SFRAReview,202,December199221"Somehow,Toto,We'veBeenDiddled"Nathanson, Paul.Over the Rainbow: "The WizardofOz"as aSecular MythofAmerica.Albany: State UniversityofNew York Press, 1991.xx+432p.$44.50,0-7914-0709-8;$14.95, -0710-1. Accordingtotheauthorbioonthebackcoverofthis volume, Paul Nathansonis"a researcher inthefieldofReligious Studies at the McGill Centre for Medicine, Ethics,andLaw,"andinOverthe Rainbowhe has produced, to usetheterminologyofhis discipline, evidenceofa devotion bordering on monomania. Hisisnot the first book length study ofThe Wiz ardofOz,-thatpalm probably belongstoAljean Harmetz'sThe Makingof"The WizardofOz": Movie Magic and Studio Power in the PrimeofMGM and the MiracleofProduction#1060(Knopf, 1977). But while Harmetz's bookwasan excellent historyofWizard's productionandreception, gath ering material from diverse sourcestoproduce what remains the most com prehensiveandperhaps alsothebest analysisofthetrajectoryofa single film's career, Nathanson's textisa critical study pursuing a narrowly defined thesis: thatWizardarticulates a (moreorless) traditional Christian vision within a secular framework thatisquintessentially American. Thereisnoth ing inherentlywrongwith this argument, indeed,itwould probably have made for a solid forty-page essay but Nathanson spends over400needlessly detailedandendlessly digressive pages attemptingtoproveit.The result makes for numbing reading. Nathanson's argument,inbroad outline,isfairly simple:The WizardofOzsecularizes Christianthemesofpersonal identityandempowerment,communal stability and change, and cosmic destinyina way that links them with typically American ideals, aspirations and historical realities to produce a modern mythofAmerica. Again, thereisfodder here for a fine,compactessay. But instead,Over the Rainbowoffers critical overkillofepicproportions-perhapsthemost egregiousexampleofwhichisa 24-page analysis of the rhetoric of Biblical hymns purportingtoshow how Wizard's depiction of the baffled relationship between "home" (Kansas) and a paradisical realm (Oz) converges withthetraditional Judaeo-Christian vision. I must admit that, at this point, I started skimming. Partofthe blame for allthepadding must lie with KatherineK.Young, general editor of the McGill SeriesintheHistory of Religions,ofwhich this book forms a part.Inherforeword, Youngclaimsthat"Nathansonhas throwndownthegauntlet for the next generationofstudentsinthe fieldsofreligious studies,filmstudies, popular culture, and American cultural history" with his"newandprovocative viewoftherelation between religionandsecularity,ortradition and modernity." She must be kidding. Either thator

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22SFRAReview,202, December 1992religious studies in Canadaisa real backwaterwhereanapproachthat as sumesthemythic statusofpopulartexts (anapproachat least asoldas Roland Barthes'Mythologies[1957], which Nathanson cites) represents a critical watershed. Youngiscloser to the truthwhenshe says thatOver the Rainbow"has something for everyone" including, thanks to her negligent editing, the proverbial kitchen sink.RobLathamExcellentReader'sGuidetoGibsonOlsen, Lance.William Gibson.Mercer Island., WA: Starmont House, 1992.vii+131p.$20. 1-55742-199-4; $11. 1-55742-198-6. Thisfirstbook-length studyofthe "godfatherofcyberpunkisa typical example of whatwe'vecome to expect from Starmont House, a solid com bination of detailed textual explication, straight-forward literary criticism, and relevant historical and intellectual context, fleshedoutwith basic bio graphical materials and annotated primary and secondary bibliographies.Inan extendedfirstchapter, Revolution, Revelation, and Rock'n'RolI," Olsen begins with a brief discussion of the enormous effect Gibson's first novel,Neuromancer(1984), had on the science fiction community and the literary world at large. Based primarilyona number of interviews of GibsonbyLarryMcCaffery, Olsen, and others,itretells several of the better Gibsonstories-hiswriting ofNeuromancerona manual typewriter, hisfirstrun-in with acomputer-andsummarizestheavailable biographical material. Olsen then touchesonsomeofthe important issues relevant to Gibson's writing,forexample, his internationalism, his connection to postmodernism, and his intense intertextuality. Olsen quotes the postmodernist writer Kathy Acker (who has stuck whole chunks ofNeuromancerinto herownnovels) as recalling that Gibsononcewrote to her that "wedon'tcallit'plagiarism,' dear, but 'appropriation.'" Much of Olsen's first chapterisa very good survey of the current stateofGibson scholarship and cyberpunk scholarship generally. Focusingonvarious outside influences, he discusses Gibson's relationship with Thomas Pynchon, William Burroughs andotherwriters, examines atsomelength Gibson's claim that heisactually moreofa postmodernist than a science fiction writer, compares the cyberpunk movement to Italian Futurism,anddiscusses the influenceoncyberpunkofAlvin Toffler'sThe ThirdWave(1980). Olsen then goes ontoexamine the importanceofJapan and multi national corporationsinGibson'swork,themetaphoricimportanceof

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SFRAReview,202,December199223cyberspace, and the author's use of fantasy motifs inwhatisotherwise hardSF.Particularly noteworthyishis discussionofGibson's obsession with the mind-body problem and theconceptof free will. Towhatextent arewemerely meat machines? To what extent arewemerely sophisticated, but predetermined computer programs? Moving from mattersoftheme to mat ters of technique, Olsen also discusses Gibson's intentional use of flat, some what distanced characters; his love of bricolage and collage; the poetry-like informational density of his work; and his ambiguous feelings concerning the necessity of reaching closure at story's end. Following his excellent overview of Gibson's work, Olsen devotes chap ters to the short fictioninBurning Chrome(1986),toNeuromancer,toCount Zero(1986), andtoMonaLisaOverdrive(1988), explicating the textsina lively fashionanddiscussinginmore detail thethemesandtechniquesbrought up in the first chapter. Although heisobviously a strongexponentof Gibson's work, Olsen's writingisrefreshingly free from the hype and ex aggeration that sometimes seemsendemicto discussionofthe cyberpunk movement.Ashas occasionally been the case in the Starmont series, Olsen'sWilliam Gibsondoeshave some problems with typographical and other errors. The careful readerislikely towonderwhy the chronology thatopensthe book lists the author's birth date as March 17,1949while the first chapter opts for the same datein1948 (the latteriscorrect). Olsen also repeats the time-honored but untrue claim that the term "cyberpunk" originated in an article by GardnerDowisintheWashingtonPost.Dozois certainly popu larized the term, butitsfirstusage occurred somewhat earlierina short story by Bruce Bethke. I was also a bit surprised by Olsen's use of Asimov'sFoun dationtrilogy asanexampleof"conventional science fiction...typically setinthe distant future, peopled with aliens, and enactedona galactic and heroic scale." The trilogy may be distant, galactic, and heroic, but,sofar as I remember, contains no aliens. A final problemthatisundoubtedly not Olsen's fault, but rather a result of publishing schedules,isthe almost complete lack of reference to Gibson's most recent novel,TheDifference Engine(1991; coauthored with Bruce Sterling). This book, althoughitretains someofthe author'skeythemes and techniques, clearly represents an entirely new phaseinhis career.I,forone, would very much like to know what Olsen thinksofit.Quibbles aside, this bookisan excellent introduction to the work of Wi1liam Gibson and to the cyberpunk movement generally. I strongly recom mendit.Michael M. Levy

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24SFRAReview,202,December1992A Paradigmofthe GenreWriterReichardt, MaryR.AWebofRelationship:Womenin the Short StoriesofMary Wilkins Freeman.Jackson,MI:Univ. PressofMississippi,1992.xix+186p.$28.50.0-87805-555-X.Onemight atfirstwonder whether a studyofMaryE.Wilkins Freeman was relevant tothefieldofSF.Although she did write some excellent fantasystoriesmost are collected in The Windinthe Rose Bush(1903), and some romances, her specialty wastherealistic storyofsmall-townNewEngland life. However, Freeman's career wasinmany ways a paradigmofthe genre writer, of today as well as the late nineteenth century.Likeso manywomenofher time, she wrotenotout of artistic yearnings but because she needed the money. Under the threatofpoverty mostofher life, she turnedoutfourteen novels, more thantwohun dred short stories,anda large numberofchildren's stories, articles, poems,plays-anything that would sell. Although she took her craft seriouslyitisnot surprising that under these circumstances her workisuneven. She often acceded totheconventions of her time, which required an artificial, sentimental style, and followed editors' instructionstoproduce stories with happy endings. Although her genius lay in the short story, she spent muchofher timeonless-successful but higher-paying novels. She enjoyed a high degreeofpopularity for many years, but in time literary fashions changed and the qualityofher work declined.Bythe time she diedin1930she was almost entirely forgotten, and her workisonly now enjoying a revival by criticswhohavecometo see her as an original artist ahead of her time. Mary Reichardt,whohasalso editedananthologyofFreeman's uncol lected stories, focusesonthewomencharacters in her work. Her organiza tion followstherelationshipsamongthewomen-mother-daughter,mar riages,womenas friends,womenalone-ratherthan proceeding chronologi cally throughFreeman'swriting. Reichardt's focusisonthepsychologyofthecharacters ratherthanonotheraspectsofFreeman'sart. She putstoomuchemphasisonwhatthestories revealaboutFreeman'sownlife, Ibelieve,andnotenoughontheir artisticandsocial values. The fantasy ele ments are barely mentioned.Inmost casesshemakes a reasonablecasefor her analysis, butheremphasisonthe events intheauthor'slife leavessomedoubts. Although it mightseemreasonablethatFreeman'sgenerallyweakandunreliable male charactersreflect her disappointing marriagetoamanwhowasbothanalcoholicanda drug addict,thefactisthatshedidnotmarry him untilshewasforty-nine yearsold,andmostofthestorieswerewritten earlier. There ismorethanthistosayaboutFreeman. A worthwhile studyofa neglected author that will interest readersofpre feminist Americanwomanwriters.LynnF.Williams

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SFRAReview,202,December1992ATestCasefor Todorov25Rodri'guez-Luis, Julio.The Contemporary PraxisoftheFantastic: BorgesandCorta'zar.NY:Garland Publishing, 1991.+131p.$19.0-81530101-4.Tzvetan Todorov's bookonthe fantasticisoneofthe best-known efforts at a structuralist analysisofnarrative genre, and yet many fantasy scholarsfinditirrelevant and slightly irritating. His "fantastic" consistsofa handful of examples including "The TurnoftheScrew,"inwhich the central pointisuncertainty as to whether the eventsweare readingaboutare supernaturalor not.Infocusingonthis stateofhesitation-whichsome have called the Todarovshuffle-hedismisses what many ofusfind more interesting, the utilizationofbelievable impossibilitiesintraditional and modern narratives. Rodri'guez-Luis begins this brief study with achapteronTodorov's theory, which he then applies to the short fiction of two major Argentinean writers, JorgeLuisBorges and Julio Corta'zar. He finds that both writers do write stories that conform to Todorov's description, sometimes, to an extent. The least interesting resultofhis surveyisa divisionofstories into catego ries like the fantastic, the marvelous, and the allegorical. The most interest ing resultscomewhenRodr'guez-Luisand/orthe stories themselves chal lenge Todorov's assumptions. Rodri'guezLuisdrawsona numberofcrit icswhooffer more substantial analysesofthe fantastic. Ana Mari'a Barrenechea, tor instance,whosework,becauseithas not been translated from Spanish,islittle knowninthe Anglo-Americanacademy,offers the folloWing critique (in Rodri'guez-Luis's paraphrase): "There areother... means, perhaps more subtle than the character/reader's hesitation, of pro voking thesameeffect asthatcausedby witnessing the violationoftheworld's order, i.e., the 'fantastic' effect." Among these "other means" are cultural clashes: "a fantastic text cantake asitssubject the beliefs of groups outside the cultureofthe author and absorb the abnormal event by inscrib inginthe text,the appropriate cultural codes accordingtowhich the catego ries of normal and abnormal are elaborated by that culture." Implicit within this textisanother, fuller analysis of the contemporary fantastic,onethattakesupwhatTodorov ignores, including historical changes, political forces, psychological configurations. and the effect of all of theseonthewriters and audiencesoffantasy.Ifthose hintsweredevel oped as Rodriguez-Luis seemstobecapableofdeveloping them, this would be a major study rather than an exerciseinTodorovian categorization.Brian Attebery

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26SFRAReview,202, December 1992AuthorizedOrwell:Lucid,BalancedShelden, Michael. Orwell: TheAuthorizedBiography.NY:HarperCollins, 1991. x+497p.+16p.plates. $25. 0-06-016709-2.Myfirst memoriesofOrwelldatefrom 1949, when at age 15 I read a partofNineteen Eighty-Four in Reader's Digestofall places.Mymemory says the excerpt wasn't "digested," which may explain whyithad such a powerful effectonme and resulted in my ordering acopydirectly from Harcourt Braceinadvanceofpublication. This was coincidentally the rela tively brief period during which I was a trufan, reading little butSF.I later read almost every work by Orwell and acquired the invaluable four volume set, Collected Essays, JournalismandLettersofGeorge Orwell, 1968, edited by his second wife, Sonia Orwell, and Ian Angus, directorofthe Orwell Archive at University College, London, which Shelden quotesfromfrequently. And I've read someofthe many studiesofOrwell, although not Bernard Crick's 1980 biography, authorized by Sonia Orwell,wholater "condemneditas too political, too dry, and too unsympathetic and tried to stopitfrom being published," according to Shelden,whodoesregarditas rather bloodless but improperly omitsitfrom his selected bibliography. Shelden, an English professor at Indiana State,whohas written a study of Orwell's school friend, Cyril Connolly, was authorized by Orwell's cur rent literary executor to write this biography, which drawsonmuchnewinformation. Although the picture of Orwell that emerges does not differ in any major way fromwhatwehave known, this lucid, balanced and well written work deservestobecomethe standard biographyofoneofthis century's most important literary and journalistic figures.Eachof Orwell's books, fromDownandOutinParisandLondon, 1933, to his last, Nineteen Eighty-Four, published seven months before his death from tuberculosis in January1950,isplacedin its biographical context. Shelden effectively links the eventsofOrwell's lifetohis writings, allofwhich embody elements from Orwell's varied experiences, but thisisa life, less a study focused on the writings.SFRAmembers may be most interestedinhis last work, repeatedly re vised as he worked intensively onitat an isolated Scottish island, his health steadily deteriorating. As late as January1949the title was uncertain, its working title having been "The Last Man in Europe." Nothing especially prophetic was meant by Orwellinhis choice of thefinaltitle, since he simply reversed the last two digits of 1948, when he was working intensivelyonthe manuscript. "ItisOrwell's most compelling work, anditsenormous success over the yearsiswell deserved, butitisalso his most misunderstood work." Sheldenisespecially good at showinghowOrwell incorporatedandtrans muted his experiences to createwhatis, probably the single most influen tial novel published since World WarII.

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SFRAReview,202, December 199227Orwelladoptedaninfant a few years before hisdeath,whowasraised by his sister,animplicitcommentonSonia Orwell. His sonownstheadop tion certificate, inwhichthenamesofthe true parents havebeeneliminated byOrwell'scigarette-"perhapshetookthisactionin a lonelymomentaf ter Eileen'sdeath,vaguely thinkingthathewascreating a stronger tie with hissonbyeliminatingthereminderoftheboy'sotherparents.Sheldenconcludeshis biography:Manyadoptedchildren might resentsuchtampering, but Rich ardhassaidthathedoesnotmindit.Hedoesnotevenwanttoknowtheidentitiesofthemissing names. HeiscontenttobeRichardHoratioBlair,thesonofEric Arthur BlairandEileen O'Shaughnessy. Heispartofthem.The books belongtoallofus.NeilBarronOneCultureToo Many? Slade, JosephW.andJudith Laross Lee,eds.Beyond the Two Cultures:EssaysonScience, Technology,andLiterature.Ames,10:Iowa State Univer sity Press,1991.xiv+308p.$34.95.0-8138-0162-1.Twoshadowsloom largeovertheessays inBeyond the Two Cultures.OneisthatofC.P.Snow,whosedivisive lecture "The Two Cultures and the Scientific Revolution," deliveredatCambridge in1959,identifiedscienceandthehumanities as antagonistic entities within a schizophrenic American culture. TheotheristhatofThomasKuhn,whosenotionofscientific revo lution through paradigm shift informs, explicitlyorimplicitly, a great dealofrecentcommentaryonsciencein20th-centurysociety. The present collection offers an extravagantly diverse selectionofsuch writ ing. Editors Slade andLeehave triedtobringcoherenceto this cornucopia, organizing the book's14essays, originally delivered at the 1983 ConferenceonScience, Technology, and Literature, into three major sections. Each section and subsection has an informative introduction, and the whole enterprise features aselectedbibliographyandthoroughindex. But, with textsthatrange from modernist Americanpoemstothehumanskeletal system,andtopics fromthegrowthofthefieldpoppytothesecondlawofthermodynamics, this vertiginouslyeclecticbookdefies contiguity.In"The TextsofNature," forexample,threecriticsexploretherolesoftextual interpretationandconceptual models in science.Inthe bestofthese essays, StephenJ.Weininger tracestheclassicalconceptofmolecular struc ture from its introduction inthe19thcentury through its clash withquantummechanicsinthe20thandtherebyshedslightontheimportanceofmeta phorsinmodemchemistry. Beyond its intrinsic interest, Weininger's inquiry raisesdeeperquestionsconcerningtheroleofordinary language inthedis courseofmodernscience.

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28SFRAReview,202,December1992Theinfluence ofThomasKuhnismost evidentinthe section entitled uQuestsforParadigms." Continuing the rampant eclecticism of this collection, this sec tion offers anapplicationbyJohnF.Callahan of Kuhn's ideas to the formal in novationsRalphEllisonbrought to American fiction with his 1952 novel,Invis ible Man;an exceptionally exciting essayinwhichLindaS.Bergmann' exposes the rhetorical strategies Charles Darwin usedinOnthe OriginofSpecies (1859)to convince his readership to buy into theories that diminished their influence and marginalized theirGod;and-ofallthings-anaccountbyEdmund Denhert of how the invention of musical notation altered the criterion of valueinmusic, shifting the emphasisforcomposer and listener from performance to printed score. Denhert's essayisso fascinating thatonetends to overlookitsacutely tenuous connection to the rest of the book. Thethird and longest section, "Literary Responses to Science and Technology,"includes two essays on the 19th-century romantic critique of science, two on how contemporary fiction and literary theory have appropriated metaphorsfrommodern physics, two on the use of the language and tropes of mechaniza tioninmodemist fiction and poetry, and two on popular scientific biography.Thishodgepodge variesinquality almost as much asintopic. Taken indiVidually, most ofthe essaysinBeyond the TwoCultures are ac cessible and stimulating. Indeed, this book reveals the intellectual breadth and potential of this most interdisciplinary areas far better than, say, the recent collectionsOneCulture:Essaysin ScienceandLiterature(ed. George Levine; Madison,WI:Univ. of Wisconsin Press, 1987) andLiteratureandScience: Theory and Practice(ed.Stuart Peterfreund, Boston: Northeastern Univ. Press, 1990), most of whose contents are so overtly academic that they leechallexcite mentfromtheir topics. Taken as a whole,Beyond the Two Culturescontinues the lambasting of Snow's thesis beguninbyF.R.LeavisinTwo Cultures? The SignificanceofC.P.Snow.Attheir best,itscontributors provebyexample that, as JudithLarossLeewrites, "the very notion of the two cultures[is)anintellectual convenience-at besta paradigm whose time has passed, at worstlittlemore than a political slogan, but at heart an inadequate image."MichaelA.MorrisonAnImportantStudyofKingTerrell, Carroll.StephenKing:ManandArtist.Northern Lights, 493 College Avenue, 493 College Avenue, Orono, Maine 04473, 1991. 159p.$8.95.09621570-9-0.StephenKing:ManandArtistisa trade edition of the earlier limited edition study ofKingbyoneof his professors attheUniversityofMaine, Orono. This revised edition, like the earlier version, brings to bearonthe question of King's status as a contemporary author not only Terrell's several

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SFRAReview,202, December 199229decadesofassociation withKing,but alsoanenviable backgroundincon temporary literary criticism.Asthe authororeditorofpublished worksonEzraPound, Robert Creeley, William Carlos Williams, Basil Bunting,andLouisZukofsky, Terrell is aware of important currents in recent thought, andinStephen King:Manand Artist,he relates King's concerns and approaches to thoseofYeats, Joyce, Pound, Eliot, Wolfe, Faulkner,andothers. King's themes, Terrell argues, arethesameasthose in Homer, Dante, Chaucer, Cervantes, Shakespeare, and others ... and those themes stem ultimately from religious sources. Discussing King's work fromCarrietoTheTalismanandIt,relating King's achievements to the great writersofWestern Culture, and demonstratingthephilosophical and religious underpinnings for his horror, Terrellisatonceinsightful, persuasive,andpersonal. This revised edition incorporates a numberofchanges. The chapter origi nally titled "From Celebrity to Phenomenon," which recounted elements ofKing'spersonallifeand reactions to his increasing fame, has been deleted, em phasizing the analytical nature ofTerrell'stextingeneral; andb/wgraphics foundinthe original edition have disappeared, as well as the skeletal "Works tv\en tionedinthe Text" Iisting.Thechanges suggest a more direct, scholarly approach to the topic, although the lack of any sortofindexorbibliography makesitdif ficult to appreciate the many cross-references Terrell incorporates.Inspiteofrevisions, however,Stephen King:ManandCriticisnonethe less an important study, illustratingthepotentialsofKing's fictions as wellasmaking a strong, well-supported, anddemandingcasethat King's "seri ous work ... places him in the forefrontofadozenorso great writersofthe 20th century"and"the prediction thatinthefuture he willbeincludedina brief listofthe greatest writersofall time."MichaelR.CollingsDemythologizingPrinceVladTreptow,KurtW.,ed.Dracula:Essaysonthe LifeandTimesofVladTepes.NY:Columbia Univ. Press, 1991.336p. $36. 0-88033-220-4. It's hardtosay with certainty how great an impact Radu FlorescuandRaymondT.McNally'sIn SearchofDracula(1972)hadonAnne Rice's Vampire Chronicles, Chelsea Quinn Yarbro's ChroniclesofSt.Germain,LesDaniels ChroniclesofDon Sebastian, even Brian Stableford'sThe EmpireofFear(1988)andDanSimmons'CarrionComfort(1989). YeteversinceFlorescu and McNally exhumed the historical Vlad Tepes, the fifteenth cen tury Romanian PrinceofWallachia whose bloody reign gave risetothe leg endsofthesupernatural monster Count Dracula, the best vampire fiction has tendedtoview its mythical subjectinthecontextofknown history.

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30SFRAReview, 202, December 1992This volume intheEastern Monograph SeriescontinuestheworkofFlorescu and McNally (both ofwhomcontribute essays), presenting 14 es says and numerous historicaldocuments-familygenealogies, folk tales, extracts from correspondence, portraits, periodmaps-concernedwith the historical Dracula, inaneffort (in Treptow's words) "to present a historical portrait ofthelife and times of this Romanian prince which can be used as a basis for penetrating through the many different myths surrounding him." The demythologizing that results affords a fascinating glimpse at the process by which historical factisrendered into, and overwhelmed by, fiction. Indeed, the contents of the book are assembled to describe the arc of this process. Theopeningessay, ConstantinC.Giurescu's"The Historical Dracula, recounts thelifeand times of Dracula, born to Prince Vlad Dracul (the last name interpreted variously as "dragon"or"devil")ofWallachia, circa 1428.Atthe time, the countries that would laterbecameRomania were threatenedononeside by the Ottoman Empire, andonthe other by the growing economic powerofGerman noblesinTransylvania. Such circum stances engendered an apparently justified siege mentalityinthe rulersofWallachia and Moldavia, as well as barbarous reigns.Otheressays detail Dracula's two reigns as prince,in1448 and1456to1462-beforehis deathin1477, the political/economic climateinEurope and theEast;exploits from which the Dracula legends grew: tens of thousands of deaths by impalement, earning him the nickname Vlad Tepes ("the impaler");thelaying waste of entire villagesofhis enemies; swift and bloody reprisals against those dis loyal to him. Yet viewing these acts as partof"the atmosphereofcruelty [that) existedalloverEurope," Giurescu concludes, "they were not commit ted heedlessly,outof a sadistic impulseinhis nature,oroutof caprice, butforwell-founded reasonsofstate." Satanic and mythical associations with Dracula also began for reasons of state. Anton Balota's essay, "An Analysisofthe Dracula Tales," shifts the focus of study to the mythical and shows how Dracula, Vlad Tepes became a legendinhis own time, thanks to German stories aimed at discrediting him with his protector Matthias Corvinus,KingofHungary. These portraitsofDracula as a cruel tyrant parallel Romanian stories thatdrewonthe same historical data to paint Vlad as a hero, as McNally's "almost a Robin Hood",whoresorted only to such means as were necessarytopreserve his nationina timeofpolitical chaos.Othertales picture himinSaxontownsas a vampire. TheendofDracula's life coincides with a Western European shiftInartistic sensibility from the serene styletoa grotesque fascination with corpses and death.Inthis aesthetic climateitishardly surprising that depic tionsofDracula'sgruesome handiworkbecamethe stuffofsupernatural legends that were to influence Bram Stokersomefour centuries later.

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SFRARev;ew,202, December 199231Dracula:Essaysonthe UfeandTimesofVladTepesispackedwith perhaps more information than anyone researching the Dracula legend will need toknow,andits durability as a referencevolumeiscompromisedsomewhat by its poor typesetting and shoddypaperquality (the bookwasprintedineastern Europe, simply distributed by Columbia). Nevertheless,itprovides a look by mostly Eastern European scholars at the local legends behindoneofthe most potent and enduring Western myths, and enriches that myth even asitdigs at its foundations. Stefan Dz;em;anow;cz FICTIONSomethingAkintoCyberpunk/Chivalry?besshahar,Eluki.Hellflower.NY:Daw, 1991 252p.$3.99. 0-88677-475-6. Inadvertent rescues, honor codes remindingoneofthe AgeofChivalry, but belonging to a fourteen-year-old titled refugee with more brawn than brains, Paladin (continuing the knightly thread), an illegal computer 'Library,' of prewar material, all are the stuff ofHellflower,a sagaaboutthe various journeysofthe smuggler ButterflySt.Cyr, her good spaceship Firecat withitsillegal brain Paladin,andthe many, many groups and subgroupsofa wide-ranging criminal network, all ofwhomshe seemstobe atoddswith. (Sorry, but this novel inspires this reviewertowrite long sentences, with a mixtureofstandard English, patois, and mind-bending dialect! bes Shahar writes something akin to cyberpunk, with Butterfly as the possessorofa highly illegal remote transponder implant, enabling hertobeinnear-constant contact with her Pal[adin].Asa 'Librarian,' sheisgoing directly against the anti-technological strainofher culture, which means that she can never allow the ship tobeinspected. The novelisabout her loyal ties, not onlytoher various criminal employers, but alsotoPaladinandTiggy,theyoung alMayne heirwhomshe finds herself rescuing again and again from all 'manner of crime-laden situations. Why has she such loyalty to Starbringer Valijon (aliasTiggy)?What kindofperson has he sworn com panionshipandloyalty to? What mannerofquestisPaladin on?Allthese,andotherquestionsofplot, keep the reader going through whatattimesisan irritating linguistic puzzle. Butterfly hasmany anteced entsinthe genre, as a tough, not entirely self-reliant, semi-criminal loner, but her quasi-maternal feelings for Tiggyareintriguinglyhandled,andbes Shahar writesaninteresting first novel. Thisnewtalentisworth watching. Recommended! Tanya Gard;ner-Scott

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32SFRAReview,202,December1992MasteratWorkBujold,LoisMcMaster.TheSpiritRing.NY:Baen Books,1992.384p.$17.00.0-671-72142-9.BUjold's richly detailed languageinher first fantasy makes this book a true delight. Her characters come to life as well as the realities of political intriguesina Renaissance Italy where adepts can use magic.TheSpiritRingistold through the eyes of Fiametta, the sixteen year old daughterofProspero Beneforte, master mage and goldsmith to the local Duke. Fiametta'slifeina typical upper class artisan householdisrealistically centered on details familiar to any young teenage girl. Fiametta dreams of finding her true love. She also looks toward the day that she will be a metalsmith and a mage, just like her father. A Machiavellian plot by a visitinglordradically alters herlifeand future. Complications, some personally tragic and some politically perilous arise. Fiametta must learn how to survive, to master her magical talents aswellas her temper, and how to rescue her father's spirit. Her goal,as as father's apprentice-is tofinda"true vocation ... true love ... [and] true faith." WithTheSpiritRing,Bujold has made a grand entrance into the fantasy field. Highly recommendedforfantasy readers.E.Susan BaughCherryh'sThirdRussianFantasyCherryh,c.J.Yvgenie.NY:Ballantine/DelRey,1991.281p.$19.00. 0-345 36784-7.Yevgenie,thethirdof Cherryh's fantasies setinmedievalRussia,(thefirsttwo wereRusalkaandChemevog)again demonstrates thatitisn'tallthat easy to be a wizard.Youhave to be careful what you wishfor,lestitcome trueinunex pected ways; you are going tobetreated with suspicionbyordinary people; andyouare likely tobepretty lonely even though you are accompaniedbyghosts,leshys,domovoi, and other nature spirits, not to mention a monstrous serpent who haunts theriverbank. Sashaisluckier thanmost,though he doesn't always think so.Atfifteenheranaway withhisonly friend, Pyetr,fromthe uncle who didn't wanthimandthevillagethat suspectedhimasa witch, only tofallunder the power of a crotchety wizard.Thewizard used Sasha to helphim r:evive hisdaughter, who was a Rusalka-a ghost maiden who drainsthe Iifeout of the living-trees and animals as well as humans. Now, after the adventures recountedinthe two previous volumes, he has afamilyof sorts-Pyetr, settled down and married to the rebornEveshka,and their daughter lIyana, nowfifteenand also a wizard, and a house next to Pyetr's on the river bank.Butheisstilllonely.

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SFRAReview,202,December199233Although thesepeopleloveeachother,theyare always a bittensefor fear thatanunwise wish might destroythedelicatebalanceoftheir happi-. ness.Butthey get along well enough until two invaders disrupt the domestic scene, firsttherevenant ghostoftheirdeadenemy,thewizard Chernevog, and then a half-drowned young boyar. Since Chernevog hadonceseduced both lIyana's motherandher grandmother,itisn't hardtopredict that he will make trouble,andhedoes. What makes these fantasies superior tomostispartly the well-researched and interesting useofRussian folklore. The bookisgoodontherelationofmagictothe natural world and the spirits that are a partofit.Cherryh bor rows from LeGuintheuseful distinction between the legitimate wizard,whoworks within nature,andthe sorcerer, whoviolatesitsprinciples.Evenmore enjoyable,tomeatleast,isthatthese wizardsactlike real people. The parents scoldandlectureandyellattheir kid,whois a teenagerinlove as well as a wizard. Anyonewhohas been there knowsthatupsets are un avoidableinthe bestoffamilies,andwill understandwhythe motheranddaughter fight whilethefather tears his hairandwishes hewereinKiev.Butasinthe earlier books the actionisslower thanitshould be, andtoooften the characters' motivationisunclear. They stand around worrying when they would be better off sitting down with their daughter and telling her a littlefamilyhistory to explain why Chemevogissuch a danger, instead of driving hertorunaway with him and then chasing after.And Cherryh's style lacks grace and variety-surely medieval Russians had more interesting expletives than "dammit" and "god"! Those who enjoyed thefirsttwo bookswilllike this onetoo-itmay not be thelast-butothers might prefer to begin withRusalka.LynnF.WilliamsGrippingReadCrispin,A.c.with DeborahA.Marshall.Serpent'sGift.NY:Ace,1992. 295p.$4.50. 0-441-78331-7.Not having readthefirst three booksofthe Starbridge series, Iwanttoget themnowthat I have read this fourthone.The descriptionsofthevari ous aliens are fascinating, the human characters in the series are empathetic, and the useofreferentstoclassic moviesandclassical musicaddan extra resonancetothecharacterization. Starbridge Academy istumedon itsearby the arrivalofa gifted, troubled young girl, Heather Farley,whohappenstobe a powerful telepath. Because her ethics needtocatchupwith her powers, she isonprobation, and muchofthe novelistakenupwith her struggles regardingtheuse ofthatpower. Her growthismOVinglyportrayed,andthereismuch affectionate humor.

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34SFRAReview,202, December 1992RobGableisthe link figure, the counselorwhodeals both with Heather and those students who are not quite what the Academy setoutto produce. Serge LaRoche, the gifted musician turned archaeologist, andJeffMorrow, the brilliant engineer, are two ex-students whom Rob has to counsel with great care, and the way he handles people and aliensispowerfully realized, asis Hing Gun, Serge's and Heather's talented student friend. The serpent of the titleisnot a literal one, but to say more would be to reveal the plot. Thisisa strong novel, carefully crafted andfullof the wisdomoftheheart, which stands wellonits own. Highly recommended for a gripping, enjoyable read!Tanya Gardiner-ScottParallelRingSagaDonaldson, StephenR.The Gap Into Conflict: The Real Story.NY;Bantam Books, 1991. 229 p.$18-95.0-55307173-4.Gap Series #1.________. The Gap Into Vision: Forbidden Knowledge.NY:Bantam July, 1991. 407p.$20.00.0-55307174-2. Gap Series #2. These two volumes are the beginning of Donaldson's new five volume work.Inan Author's Afterword,inThe Real Story,he describes how and where he got the idea for this series. The themeisoneofthree characters whose roles change during the story; the story itselfispatterned after Wagner's "Ring" operas. This ideaisso important that Donaldson actually summariz;es allfour operasinhis "Afterword"; a task thatisprobably nec essary since the similarity of the two worksismoreoneof parallel themes than of story lines.Inthe first volume the three principals are introduced (a nasty, filthy, degraded space pirate, a beautiful female spacecopinthrall to the pirate, and herrescuer-another,but far less detestable pirate). A brief story tells of how the "nice" pirate rescues the fair lady from the nasty pirate,whothen goes toprison-andthen theREALstoryistold, withallthe twists and turns and behind-the-scenes detail. This merely sets the stage for the series.Inthe second volume, the plot developsinmore detail and some of the "Ring" parallels become more obvious. The "nice" pirate really isn't; the lady delivers a child; the aliens enter the picture, and the nasty pirate re-enters the story. The child will obviously turn out to be the "Siegfried" of this epic. The "Gap" of the titleisthe vast abyss of interstellar space between civi lized planets, and the"GapDrive"isthe only way to cross such distances.Italso has peculiar side-effects necessary to the story.

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SFRAReview,202,December199235Donaldson's characters are usually unsavory inonewayoranother, and this set isnoexception. There arenoreal heroes; just varying degreesofdistasteful people. Donaldson fans will undoubtedly hail this series with great enthusiasm. Others, particularly those experiencing his work forthefirst time, may be put off bytheblack tone.Eventhose, though, will probably find a morbid fas cinationinthestory. Althoughtheseriesisstarting rather slowly, so did Wagner'soperas-andthey havebecomeclassics.W.D.Stevens[The Gap into Power,Vol. 3, is advertised as being available. BH/ed.]AustralianShortStoryAnthologyDowling, Terry.Blue Tyson.Aphelion Publications, (P.O.Box619, North Adelaide, South Australia), c1992. 238p. Australians read science fiction, judgingbythe number of title displayedinbook-stores, but not many Australians writeit.Intwo of the largest book-storesinSydney, the clerks rould cite only one Australian who had a 1992bookto buy. "There's Terry Dowling," the clerkinGrahamers said, "He comesinhere occa sionally. He does a column reviewing science fiction and fantasyfora Sydney paper, you know." Lacking both time and adequate directions, I didn't try tofindSydney's store specializinginscience-fiction, fantasy and horror books to inves tigate further; I bought Dowling's latest book. He has writtentwoothers,oneofwhich,Rynosseros,tells an earlier storyaboutTom TysonoftheBlue,oneofthe Seven Colour Captainswhohaveuniquestatus in both halvesofa future Australia.Inthis Australia, presentdaymovements have developed the Tribesofaborigines (Ab'Os in Dowling's text)andthe Nation have equal and competing sovereignty. Only the Colour Captains move freely between the two realmsintheir charvolants (kite-driven vessels). Psychicphenomena"berking","haldane",andmind-war half understood today as part oftheaborigines' Dreamtime, are common reality. Artificial intelligencesareusedassentient guide-posts.Blue Tysonconsists of ten stories,innineofwhich Tysonisa major char acter.Allofthem deal with problems involving aboriginal beliefs or customs, known today, which might affect societyorindividualsinthis future Australia.Asa reflectionofpresent knowledgeofaboriginal culture, and an inter pretationofwhatitmaybecomewithgoodfortune, "Blue Tyson" is fasci nating reading. Jack Vance, in his introduction, says"Hehas started with a culture essentially incommensurable withourownand has developed therefroma new cultureofextremely elaborate textures". But I feel that DoWling's occasional mixtureofother mythologies (Quetzalooatl,the Egyptian Bookofthe Dead) intothestories areanunnecessaryenhancement.Blue Tysonis worth republishing for a larger market than Australia's.Paula M.Strain

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36SFRAReview,202,December1992ThirtyClassicPulpStoriesDziemianowicr, S.R., Weinbert,R.,and Greenberg,M.H. eds.FamousFantasticMysteries.NY:Gramercy Books,1991. 449p.$17.95.0-517-05577-5.Inthisdayandagethereisashortageofgreat'B'moviesandgoodpulpfiction. Thisbookalmostmakesupforthelackofmovies,too.FamousFantasticMysteriesisa collectionof30short stories culled from the classic pulp magazinesFamousFantasticMysteriesandFantasticNovels.The authors read like aWho'sWhoofSF/Fantasy: Francis Stevens (Gertrude Bennett), August Derleth, Donald Wollheim, Arthur C. Clark, Bram Stoker,H.P.Lovecraft,RayBradbury, even Conan Doyle, Max Brand,andJack London. And the typeoffiction ranges from the romantic asinA.Merritt's "The Face in the Abyss,"tothe supernatural horrorofStoker's to ''The Burialofthe Rats."What'smost interestingaboutthesestories,publishedbetweenthebe ginningofthecenturyandtheearlyfifties isthevisionoftheauthorsthemselves.ConanDoylecouldnothaveknownthatthedangersofflyingwerenotas in "The HorroroftheHeights",butcurrentfictiondoesnot hesitatetotransplantthesesamehorrorsevenfurther inspace.Murray Leinster's "The DayoftheDeepies"takestheafter-the-holocaustthemein still famil iar directions.Intone, Derleth"s "The Lonesome Place"canbeseen throughoutmuchofStephenKing'shandlingofthechildrenandmonstertheme.These storiescanbereadagainandagainandneverbecometiresome.Thesearemodernclassics.Toobadwe'vegivenupontheart form.Nolan AnglumFirstAdultNovelForrest, Elizabeth.PhoenixFire.NY:DAW Books,1992. 364p.$4.99. 0 88677-515-9.Two strandsofaction interweaveinthisnovel-theawakeningfrom two thousand year sleepoftwocreaturesoutofChinese legend,andthe livesofhalf a dozen middle class residentsinmodernLosAngeles. Though theirownlives occupy mostofthe thoughtsofthehumancharacters, they are inevitably drawn into the feud betweenthelion-dogdemonburied beneath Emperor Huang's clay armyinXian and the phoenix whichoncesought immolationintheLaBrea tar pits. The humans, by being present attheclimaxofa battle betweenthetwolegendary creatures,find someoftheir personal problems solved. ThisisForrest'sfirstadult novel; she has writtensomejuvenilebooks,which, judging by titles, are not fantasies. While the plot involving thehumancharac tersisfamiliar, her fantasy creatures and thewayshedepicts their inhumanbehavior are pleasantly unfamiliartothereader.Phoenix fireisagoodread. Forresrs development as a writeroffantasy willbeworth watching.PaulaM.Strain

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SFRAReview,202, December 199237A CliffHangerGardner, Craig Shaw.TheOther Sinbad.NY:Ace Books,1991.248p. $4.50Inmagnificent Bagdad, a porter stops to rest atthedoorofa wealthy merchant, who invites himinto be entertainedbythe host's story of how he became wealthy. The boasting taleisinterrupted by a violet cloud which fades into the head of a djinni seeking to punish Sinbad. But which of the two Sinbads presentishe tokill-theporter or the merchant? Thus begins the eighth voyage of Sinbad the Sailor and his companions: Sinbad the Porter, assorted servants and ruffians, a magician under a spell, and unseen Fatima of the lovely laugh and long-fingered hand. These mis matched voyagerssuffer-inquicksequence-stormsat sea, shipwreck, a pursuing Rukh, a ship of pirate apes, a valley of talking figs, among other incidents thatoccurred-inless hastysequence-intheArabian Nightsvoy ages of Sinbad the Sailor. Here,itisSinbad the Porter who yearnsforthe fair Fatima while being lusted for by Willa theseavampire, Kowdathebird woman, and the veiled queen of the apes. Absurdities aboundinthe quickly paced action, and slightly blue shades of humor, may be notedinoccasional situation and speech.Inother words, a typical Gardner fantasy-slapstick action for his adolescent readers, amus ing parodyorsatire for theadult-anda cliff-hanging ending that promises another volume or two of the same before the voyage ends.PaulaM.StrainMemorialtoTolkienGreenberg, Martin H., ed.After the King: Stories inHonorof).R.R. Tolkien.NY:Tor,1992.438p.$22.50.0-312-85175-8. Veteran editor MartinH.Greenberg has brought together some of the best contemporary fantasy writers and one or two perhaps better known for their science fiction, and asked them, as Jane Yolen remarksinher introduc tion to the volume, "to write a Tolkienesque story, not in imitation of themaster-fornoneofusare imitators--butinhonor of his work." The resultisa fine "birthday volume, afestchrifta present for the 100th anniversary of hisbirth-andfor his many readers"Ox).Greenbergopensthe volume with StephenDonaldson's"ReavetheJust," a short story of almost medieval style which contains some of the best writing Donaldson hasdoneina long time. "ReavetheJust" unfoldsata leisurely pace,allOWingDonaldson to present fully-rounded charactersina nicely-drawn-in setting; like Tolkien, Donaldson gives the reader a story thatisboth new andfamiliar-and"Reave the Just"isa hard acttofollow.

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38SFRAReview,202,December1992In"Faith,"Pooland KarenAnderson tellaverysatisfyingstoryabout what happenedtothe children stolenbygoblinsandhow,eventually, those children are revenged.John Brunner's"IntheSeason ci theDressingofthe Wells'" has a twentieth-centurysetting inruralEngland,butBrunner's characters draw on the healing powerci traditionandritualintheir timeoftrouble,reifying sacred wellsthat datetoCeltic timesand beyond. CharlesDelint's "The Conjure Man" has a contemporary settinginwhichthemain character discoversthepower of"story,"somethingTolkien'sfriendC.5.lewis wrae so rogently aboutinanessayentitled"Of Stories." DeLint's John WindlerecallsbothTolkienhimselfandTomBombadil.InEmmaBull's"Silveror Gold," a young apprentice goesinsearch of her teacher who vanished while seeking amissingprince, and another "old story" receives a moving newtreatment. jane Yolen's "Winter'sKing" isa sharplittlefable whichmaysay as much about childreninmodem society asitdoesabout the cold child whofindshiskinina snowstorm. Greenberg closes Mer theKingwith Judith Tarr's "Death and theLady,"a story setinpost-plagueFrance,specificallyinasmallvillageintherealworld located just at the edge offaerie,and aboutthetension betweenthedemands oftherealworld andthedemands offaerie.Indiscussing a group of writers of this quality, very little separates those already mentionedfromtheothersinthe volume-Terry Pratchett, Robert Silverberg, Elizabeth Ann Scarborough, PatriciaA.McKillip, Harry Turtledove,Andre Norton, Dennis McKiernan, Karen Haber, PeterS.Beagle,MikeResnick"BarryMalzberg, and Gregory Benford-except that this latter group has written somewhat less Tolkienesque stories than the ones discussed above. Their stories are uniformlyfinestories and certainly do honorTolkienas a writer of fantasy and asThewriter of high fantasy.AndMartinH.Greenberg deserves the credit editors so seldom receiveforputting togetherAftertheKing;itisan excellent volume. Highly Recommended.C.W.Sullivan1/1RichCrossoverFantasyHuff,Tanya.Blood.NY:Daw,1992.304p.$4.50.0-88677-502-7. B10cxJ Trailrepresentsa welmrne additiontoseveral genres-vampire tales, werewolf tales, detective novels,andnovelswithCanadian content (somethinghighlyprizedandnotso commoninfantasystories).Thisisarichcrossoverfantasy,withitslinking ci therealistic everyday forsome,crossroads,theTorontopoliceandthefarming community outsidelondon,Ontario, withfiguresofmythicresonances.Huffhashervampire,thecharming,fourhundred andfiftyyear-oldHenryFitzroy,make jokesaboutDrawla,andbe a writerofhistorical romances, arichtouch,up againsthishuman 'rival', macho ltalian-CanadianMikeCelluci,VickiNelson's erstwhilepartnerontheToronto PoliceForce.

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SFRAReview,202, December 199239ButitisVickiwhohas left the Force andisworking as a private detec tive, using her police training and connections as well as her tolerancefor,a world more complex than she thought it initially,whosolves the murders and stalking of an extremely attractive familyofwerewolves. The Heerkens familyisbeing targeted by someone with a high-powered rifle and a sense of mission.Intrue detective story fashion, Huff takes us into the mindofthe killer, as well as sharing with us an imaginatively rich pic ture of a family both completelywerand engagingly human.Weempathize with their grief for the murdered family members;webecome caught upinthe pack behaviors; andweapplaud Vicki's decision to takeonthe case. This fantasyisa 'must read'.Itisengagingly written, imaginatively rich, and the characterizations of the wer, in both human and wolf manifestation, are graceful, strange and familiar.Wemeet Rose and Peter (a.k.a. Cloud and Storm) the teenagers, their father Donald, their uncle Stuart (a.k.a Tag) and aunt Nadine,and,in a surprising twist, theirpoliceman-oldestbrother Colin. Huff writes a moving myth about thosewhoare otherinour society, and urgesacceptanceandtoleranceofdifference through this remarkable book. Highly recommended.Tanya Gardiner-ScottHauntingNovel aSternWarningHughes, Monica.TheCrystalDrop.Toronto: HarperCollins, 1992,177p.$16.95(Cnd).O-002-23744-X. Withthewestcoastravaged by floodingcausedbythesameglobal warming that has turned the prairie into desert, there are few places left for humankind to live. The reasonisclearly spelled out, more clearly here thanisusualinHughes's novels which often centre around the theme of ecologi cal balance:inourgreed,wehave largely destroyed the earth, both the land and the atmosphere. Thisisa bleak look at a future that seems all too pos sible; yet, the novel also shows the indomitabilityofthehuman spirit.Leftcompletely alone after the desertionoftheir father andthedeathoftheir mother, young teen Megan and ten year oldIanleave the dust bowl that was once their farm and head westtothe Rockies where rainstillfalls. While most people they encounter, like the survivalistswhoattack the children with vicious dogs, would ratherkillthe children than share their plentiful sup ply of water, others share willingly. Thus, Megan, herself selfless, learns from some not to trust, from others neithertogiveinnor to giveuphope. Meganisthe character that stops this novel from becoming a bleak, hopeless exposeofhuman folly. She makesthenovel not only bearable but positive.

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40SFRAReview,202,December1992Excellently written, thisisindeed a haunting novel of a near future where environmental damage to the ozone has destroyed the bread basketofNorth America, the prairies.Atthe same time Hughes offers a stem warning about human greed, she presents well-drawn characters to delight both young and older readers. j.R. WytenbroekMageWindsSequelLackey, Mercedes.WindsofChange: Mage Winds,2.NY:DAW Books, Inc. October 1992. 449p. $20. 0-88677-534-5. The second act of a play and the second volume of a fantasy trilogy must develop and present characters, but need not advance the plot very far. What happens to the four major charactersofthe earlierWindsofFatein the eight months after that book closed makeupthe events ofWindsofChange.Most dealwith changes in the personalities involved. Elspeth al ters her "I am the competentRoyalHeir" attitude. Nyara becomes less a sex lure and more a human girl. Skif and Darkwind talkabouttheir problems and change emotional focus. Other characters grow: Wintermoon, a bare walk-oninthe first volume, assumes importance as Skif's friend.Ire'valenhas a brief and dramatic role. The cocky but brilliant Firesong, a descendantofHerald-Mage Vanyel, en ters mid-book as a major player sure to have importanceinthe final volume of thetrilogy Ten pages before the story closes, a hitherto unmentioned sixth clanofTayledrasappearenmasse with anewform of magic. Eventhelightly sketched villain, Falconsbane,isgiven a bitofpersonal history that may re-appearina future Valdemar tale.WindsofChangewill be enjoyed by readers ofWindsofFate.Itisnot, however, the book with which to open acquaintanceship with Valdemar history.PaulaM.StrainAIReceivesThoughtfulTreatmentMaddox, Tom.Halo.NY:Tor,1991.216.$18.95. 0-312-85249-5. Welcome to a cyber-world thatisbeyond punkl Thisisthe21st century worldofMikhailGonzales,anindependentauditor with SenTrax corporation's departmentofInternal Affairs. Gonzales livesina timewhenbig corporations controlthemost advanced technology,whenartificial in telligences(AI)are fairlycommon,virtual realities are readily accessible through neural interface sockets, and use oftailored drugs seems to be com mon. High level corporate types have computer assistants (memexs) to keep

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SFRAReview,202, December 199241trackoftheircomplexlives-Gonzales'smemexakaIiHeyMex" regularlycommunicateswith "Mr. Jones"thememexbelongingtoF.L.Traynor,thedivisionhead.After a brush withdeathwhilereturningfromanauditin southeast Asia, Gonzalesisreassignedtospacestation Halo aswatchdogfor a project involvingtheinterfacebetweenAleph (anAI)andJohnChapman(whoiscomatose).HeisspecificallytomonitorDr.DianaHeywood,whoplays a key role in this experimentbecauseofher previous relationships with AlephandChapman.Alephcreatesa virtual reality forChapmantoinhabit-Diana,Gonzales,HeyMex,andothersjoin himthere-butintheprocess almost destroys him/itself (onlybyreadingthenovelcanyou appre ciatethecomplexramificationsofthatstatement). Maddox has bitten off a real mouthful in this novel. I thinkhemaycon front mostofthemajor problemsconnectedwiththedevelopmentofartifi cial intelligence. Just tonamea few:Whatare person and personality?Whatisreal (virtually?)? Will artificial intelligences die? Will they self-replicate?Howwilltheyrelate tohumanbeings? Perhapsthereaderisgoing to havesometroubledigestingitall, but it certainly offers a wonderful philosophic smorgasbord. Moreover,theanswersthenovel suggests forsomeofthese questions are interesting and innovative. Read thisoneifyou havetheleast interest in artificial intelligence. I look forwardtohis future work.Robert ReillyRobotRunsAmuck!Mason, Robert.Sofa.NY:G.P.Putnam'sSons,1992.256p.$21.95.0-39913734-3. Solo,therobot herowhoapparently committed suicide attheendofMason's earlier novel,Weapon,returnsforanother go-around with the Army, theCIA,and Naval Intelligence. Admiral FinchofNaval Intelligence (whoiscon vinced Solo survived his plunge into the sea)isbusytrying to recapture him, and Col. Sawyerisusing highly repressive conditioning methods to train anew bot, Nimrod,soitwillbecompletely controllableandcapableofkilling Solo. Meanwhile, Solo (who has access to allthecommunication satellites and thus knows mostofthe military's plans) has retumedtoNew York, wherehemeets and befriends Laura Johnson-Reynolds, a womanwhohas become a streetperson becauseofan earlier traumatic experience. Solo's other friendishis designer,BillStewart,whoknowshehas survivedandishiding that fact. Solo, having frustrated Finch's effortstocaptureordestroy him, determines to "rescue" Nimrod. This leadstothebattle confrontation between the robots whichisthe climaxofthe novel(Iwill not spoiltherun by letting you inonthe surprise which follows that confrontation).

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42SFRAReview,202, December 1992Thepublisher bills this as a "technothriller." Indeed,itisjam packed withbothtechnology and action. The suspenseiswellhandled-onereads on withthesense that Solo just may not be abletoovercome the seemingly overwhelm ing forces that the military musters against him.Yet,thereisa deeper level here. Soloisregularly referred to as a robot, but he transcends that term. The wayinwhich Mason manages to personalize and humanize himisoneofthe book's more subtle and effective features. Because Solo makes friends, acts on ethical principles, and shows compassion, he becomes a characterwhoarouses the sympathy of the reader.Allinall, thisisa novel which not only provides thrills, but invites the thoughtful reader to consider some of the more significant social and moral questionsposedbythe advent of artificial intelligence.Robert ReillyChineseCyberpunk?McHugh, MaureenF.China Mountain Zhang.NY:Tor,1992.313p.$19.95.0-312-85271-1.Zhangisa young, gay,ABC(American Born Chinese)whoworks as a construction technicianinlate21st century NewYork.Because the Chinese have come to dominate the world, economically, politically, and technically, New Yorkisa provincial backwater.Zhangwould like to improve himself, butdoesn'tquite know how. His boss offers him an opportunitytogain Chinese citizenship by marrying his daughter.Ofcourse, he finds this un acceptable. Later, she runsawayand takes refuge with Zhang. So he loses his job andisforced to takeanother-ata research stationinHudson's Bay. What looks like exile provestobe his mainchance,gaining him entrancetoa prestigious engineering programatthe University of Nanjing. After a di sastrous affair with his tutor (who commits suicide),hebecomesa highly motivated student andisassignedtoa cooperative project withtheWuxi Corporation. This enables him to master Daoist engineering-a method of design that links the designer directly to a computer system. Ultimately he returns to NewYorkwhere he becomes a teacher and starts his own design firm. McHugh has produced an outstanding first novel here.Itutilizes many of the conventions of cyberpunk: enormouslyadvancedtechnology, differ ent (but rather repressive) social system, an alienated hero. Yetituses these elements in a very sophisticatedway,combiningthemwithsomeofthepatterns of abildungsroman.Indeed, thisisprimarily a novelaboutself-dis covery and self-development.Zhanghasmanyadventures, confronts ad verse social conditions, and deals with rapidly changing technology, but hisownpsychological growthisthe central interestofthe book. Moreover,thesociety depicted is credible andthestyleisinterestingly rich.Robert Reilly

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SFRAReview,202,December199243DetectiveandUnicornsMurakami, Haruki.Hard-Boiled Wooderland andtheEndoftheWorld.Trans.AlfredBirnbaum. Tokyo: Kodansha,1991,404p. $21.95. 4-7700-1544-5. Hisname...is never mentioned. But thereheis, a private eye, follow ingthebeautiful granddaughterofa brilliantbutunworldly old scientist through a maze of hallways. He doesn't know whyhe'sthere. He isn't sure at firsthowtoreacttohis guide because, unlike most granddaughtersofbrilliantbutunworldly old scientists, sheissplendidlychubby.There'schubbyandchubby,don'tyou see, and fortunately she istheright kind. She's also mute,whichmakesitdifficult for hertoexplainwherethey're going, especially as shedoesn'tseem to be awareofherhandicap.Inthe second chapter,the narrator (also[still?]unnamed-infad, nooneinthe bookisever given a name)isfound talking to the Gatekeeper of a small town where he has recently arrived. He observes the unicorns being herded outoftown for the night.Itisan idyllic scene, tinged with gentle melancholy. Dothesenarratives have any connection witheachother? The stylesandcontentsaresodifferent thatoneis left doubtful. A look at the pageheadersisunhelpful.Odd-numberedchaptersare labeled 'Hard-BoiledWonderland'oneven-numbered pages. Even-numbered chapters are la beled 'TheEndofthe World'onodd-numberedpages.Ourdetectiveistotally alienated. Though the sceneisTokyo, he thinks of nothing but Occidental movies, music, andfood.Hefinds himselfinsecret tun nels, whichisokay, but their obligatory sinister inhabitants are kappas, traditional Japanese monsters which are anomalousina hard-boiled detective story. NoristheEndof the World a pleasant place. The narrator learns that he will not be leaving. He learns that the unicorns die and are butchered. He learns other disagreeable things, and his shadowisamputated. Noneofthis affects him; heisemotionally numb. Indeed, long-time inhabitantsofthis village are emotionallydead,andthisisthe fatethatawaits him. Nothingiswhatitseemstobe. The old scientistisinvolved withthecriminalunderworldandismore ruthlessthantheyare. TheEndoftheWorld is real, after a fashion.ItisconnectedtoHard-boiledWonderlandthrough the workoftheold scientist (how else?buttheconnection defies description. Ican'tdecidewhetherornot theendingishappy. Thisisanextraordinary book, filled with invention.Itexhibits a pen etrating analysisofthefoundationsofdetective stories, fantasy,andscience fiction: in laying them bare,itshowstheabsurdityofcommonconventions to whichweassent.Yetitisnot Post-modernist, foritisconsistentinitsownvery peculiar way. (The "science"isgibberish, but this is not unknowninscience fiction.)

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44SFRAReview,202,December1992Itis as hard for ustoimaginehowthisbookwouldappealtoJapanese readers asitistoimaginewhyFrench intellectuals admire Jerry Lewis. Yet I think it must seem strange to Japanese readers too. Alienationisa commonthemein modern Japanese literature (at leasethatwhichis translated), butourhero snapsoutofit, andthatis notcommonatall. The expectationswhichare defeated maybedifferent, buttheeffect isthesame. Thisisa book which deserves serious attention.Itisalso a bookwhichis funtoread. Such acombinationis rare aridnotable.Highly recom mended.WilliamM.Schuyler,Jr.EnjoyableAnthologyNorton, Andre, ed.Grand Masters' Choice.NY:Tor,1991.354p. $3.99. 812-50619-7. This fine collection of short storiesbyAsimov, Clarke,deCamp, Heinlein, Leiber, Norton, Simak and Williamson represents those stories these Grand masters of science fiction see as thei r best short work. Thus, althoughallof them are reprints hitherto not easily available to the general reader, they have their own integrity as special choices and benefitbytheir juxtaposition here. The collec tionisintroduced by Robert Bloch's lively introduction. With this blend of Bloch's personal reminiscence and Norton's literary commentsoneach story, along with a detailed biography and thumbnail bibliographyofeach Grand Master,itisan accessible, well structured book, well suited to the general reader just testing the waters and the afficionado alike. The stories themselves are relatedintheir examinationofthelinks be tween human and machine,andthehumanandthe magical,inthe caseofNorton, LeiberandSimak.Ineachstory,weseetheconsequencesofchoicesmadebytheprotagonists.Heinlein's"The LongWatch"andClarke's "TransitofEarth" show us characterswhohave acted accordingtotheirconsciencesatthecostoftheir livesandarewaitingouttheir final hours. The bravelyindependenttoneofeachnarratorcatchesatourdefi nitionsofwhatitmeanstobehuman,insettings that allow for extrapolations in futuristic timesandplaces. Asimov's "The Last Question"andLeiber's "Lean TimesinLankhmar" jokeaboutreligion, the former intheguiseofconfused computers, the latterintermsofa religious cultwherethe bound a;ries between the realandthe mythicseemperilously unclear. Simak's "The Autumn Land"isalso about boundaries, this time thoseofthe mind.Itisperhapstheleast rounded story inthecollection,andleaves more questions thanitprovides answersfor.SpraguedeCamp's"AGun for Dinosaur"isa time-travel story with a twist;itplaysonthehumanrelation-

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SFRAReview,202,December199245shipwithnature,anditstoneisurbanelydevastating,asisthatofWilliamson's "With Folded Hands,"anexplorationofwhatcangowrong. with perfection intheformofrobots, a storythatremindedmeofClarke'sChildhood's Endin itsentropicportrayalofhumansashumans.Norton's"ToadsofGrimmerdale" shares manyofthehuman-centeredthemesoftheother stories, going against allodds,allyingoneselfwiththemythic, learn ing a lessonaboutone'scharacter,and for this femalereaderthewomanprotagonist,theonlyonein the collection,wasespeciallymoving. Thisisa satisfying,enjoyablegroupingofstories,juxtaposedtastefullybyNorton for maximum contrast. Highlyrecommendedboth for neophyte and initiate reader.Tanya Gardener-ScottAStarBeingBornReed, Robert.The Remarkables.NY:Bantam, 1992,344p.$4.99.0-553-29362-10Michael Levy has reviewed Reed's earlier books forSFRARandhas pro claimed him "clearlythebest writer to have yetemergedfrom the ... Hubbard WritersoftheFuture Contest." Levy is right. Reed's previous novel,Downthe BrightWaywas,asLevy pointed out, acompetitorin galactic visiontoGreg Bear, David Brin, andRebeccaOrr. With hisnewwork, ReedappearstobeenteringKimStanley Robinson territory,orwhatRobinson mightdoifheeverleft Marsand/orOrangeCounty. Set intheunguessably remote future,The Remarkablesdepictsa universewhichhumanshaveterraformedtoaccommodatetheirtrillions, Onlyonesentient alienracehas been discovered, the Remarkables, Ent-like treeswhosemalleablerotundoffspring mustmakea trektotheirplanet'ssacredmountainbeforeanchoringthemselvestothesoil. Humanity might just roll over them except forthefact thatoneofthe early interstellar human ships crash landed there. The survivors formed a symbiotic relationship with the Remarkables and havedomainaccording to interstellar laws. Forsomereasontheyhave allowedtheimmensely rich terraformer Gootich to invite someofhis colleaguestoparticipate in the most sacred ofritu als, the passion, and to accompany the young Remarkablestothe sacred moun tain.Allof the characters, rerraformers, symbiot humans, andyoungRemarkables, have secrets, even fromthemselves, that are revealed during thetrek.Reed trusts the slowpaceofhis writing here, as Robinson doesinhis nov els. Readers willi ng to accept that pace will be rewarded, Reed's everynewwork explores a different facetoftheSFuniverse. He'soneoftheexcitingonesto watch and read, and TheRemarkablesan easily recommendable work.Bill Collins

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46SFRAReview,202,December1992OnMakingAnAssof OneselfSchlam, CarlC.The "Metamorphoses"ofApuleius:OnMakinganAssofOneself.Chapel Hill: Univ of North Carolina Press, 1992. x+176p.$24.95. 0-8078 2013-X. TheMetamorphoses,better known as theGolden Ass,isa Latin prose narrative composedinthe late first century AD.Inthis brief but rich study, Schlamemphasizesthe interplay oftwoaspectsofApuleius's tale: his rhe torical artfulness and his use of fantastic fictionstoexplore philosophic ideas. Delightful though the literal story of Lucius's transformation into an ass and his subsequent asinine adventures may be, the real power of the narrative lies in "the exploitsoflanguage, the artsofnarratives, andtheforceofreligious and philosophic ideas" that the author combines into a satisfying whole.Oneidea centraltothedesignoftheGolden Assisthatofunion. Apuleius has fashioned a carnivalesque work (to use Bakhtin's influential term) that joins the serious with the comic, the spiritual with the physical, the human with the bestial, the human also with the divine. Schlam's explica tionisboth learned and sympathetic.Itprovidesanexcellent example of contextual criticism,forSchlam pays careful attention to the philosophic and religious thoughtofthe era. He gUidesthemodern reader through the pat ternsofplot and theme that give a senseofcoherence to a narrative that has often been regarded as disjointed. Curiosity and pleasure, Schlam points out, aretwoof these guiding themes. Their unioninadebasedmanner makes an ass of-Lucius, but their higher union later makes him more fully human. I recommend theGoldenAssto every reader of fantasy. (The 1951 trans lation by Robert Gravesisrecommended.)Itisa brilliant work of philosophic fiction long undervalued by scholars, in part because of its fantastic nature. I also recommend Schlam's study to every readeroftheGolden Ass.DennisM. KratzItalianGothicTarchetti, Hginiol Ulgol.FantasticTales.ed. and trans. by Lawrence Venuti. San Francisco,CA94133: Mercury House, Filbert Street, Suite 400, August 1992. 191 p. $25. 1-56279-020-X. Iginio Tarchetti (1839-69), whose tales appear here forthefirst time in English, belongedtoa19thcentury Italian literarymovementknown as thescapigliaturawhich drew primarilyontranslationsofsuch French authors as Balzac and Sandtodisseminate literaturedevotedtopromoting social

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SFRAReview,202,December199247change. Tarchetti chosetointroduce the Gothic into Italian literature be cause, accordingtotranslator Lawrence Venuti, inthatgenre "chronologi cal time and three-dimensional space are jettisoned, and personal identity remains in flux, able to escape the socially constructed boundaries between genders, races, classes" (9). Nine of Tarchetti's tales and twoofhis sourcesappearinthis volume. His first published Gothic story, reprinted here as "TheElixirof Immortality(InImitation of the English)"(1865),isactually an unacknowledged transla tion of Mary Shelley's "The Mortal Immortal" (1833).Itisthe lament of a man doomed never to age."ASpiritina Raspberry"(1869)tells of a baron who eats of a raspberry bush growing out of the breast of a murderedgirlandisthen seized by her spirit.Itcanbecompared to its source, "The Burgo masterintheBottle"(1862)by Emile ErckmannandLouis-Alexandre Chatrain. Also compare the macabre"ADead Man's Bone"(1869),inwhich a ghost visits the narrator to reclaim his lost kneecap, to Theophile Gautier's "The Mummy's Foot" (1840)inwhich a pharaoh's daughter seeks her lost appendage.Oneofthe more intriguing storiesinthis collectionis"The Letter U(AMadman's Manuscript"(1869),a tourdeforceinwhich a lunatic describes the terror engendered by his encounters with a vowel. "The Legends oftheBlack Castle"(1867)purporttobe the memoirs of a man describing adolescent dreams of a previous incarnation and the pre monition of his own death.In"Captain Gubart's Fortune"(1865)a down on-his-Iuck violinistismistakenly appointed an army captain. "Bouvard"(1867)isthe tale of a deformed musician's passion for a beautiful but unat tainable girl. "The Lakeof the Three Lampreys(APopular Tradition)"(1868)isa folk tale about an enchanted forest controlled by three impious hermits transformed into lampreys.In"The Fated"(1869)a young manisdestined to bring destructiontothose he cares about. These nine tales by Tarchetti and two from his sources are flanked by the translator's admirable introduction, which summarizes Tarchetti's brief life andplaceshis writing within boththescapigliaturamovementandtheGothic tradition, and a memoir of Tarchetti by his contemporary, Salvatore Farina. This gift editionishandsomely illustrated with ten full page black-and white drawingsbySan Francisco artistJimPearson and comes with a ribbon marker. Venuti's introductionofTarchetti to English-speaking readersisa welcome addition toourknowledge of the Gothic tradition.Agatha Taormina

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48SFRAReview,202, December 1992APleasuretoReadVance, Jack.Chateaud'ifandOtherStories.Lancaster,PA:Underwood Miller, 1991.284p. $29.95. 0-99733-098-3. This is a collection of five novellas: "Abercrombie Station," "Cholwell's Chickens," "Chateau d'lf," "GiftofGab," and "Rumfuddle." The first (1952), fourth (1955), andfifth(1973) have long since been reprintedinwell-known collections. "Cholwell's Chickens," which is a continuationof"Abercrombie Station," was also publishedin1952. The stories are vintage Vance, replete with-exotic landscapes and behav iors taken for granted by those involved.Allof them are mystery stories of a sort, and together they are enough to renew one's faithinthe extraordinary creativity which drives human depravity. "Abercrombie Station"isthe storyofan aspiring gold diggerwhouncovers something uglier than murder. "Cholwell's Chickens"isa tale about the misuse of cloning. "Chateau d'lf"isab-out a scam involving personality switches. "Gift of Gab"isan exerciseinlinguistics and murder. "Rumfuddle"isabout alternate universes and corruptionbypower. The book itselfisan attractive production with a handsome dust jacket that draws heavily on Surrealist imagery; especially Dali anddeChirico. However,nodates of original publication for the stories are supplied,andthe bookismarred by a useless table of contents: only the first page num ber giveniscorrect.Itlooks as if that page had been lifted bodily from an other edition with no thought about what would happen to the pagination when the type was setforthis one.Letthe reader beware. Thisisan expensive way to get these stories, butitwill probably be worthitto dedicated Vance fans.Forthe really dedicated, thereisan even more expensive signed edition. Enjoy!William M. Schuyler,Jr.PraiseQualifiedWilhelm,Kate.Death Qualified:AMysteryofChaos.NY:St.Martin's Press,1991.438p. $22.95.0-312-05853-5. A near missbyKateWilhelmisbetter than the best of many other writ ers. This science fiction-mystery has a stunning opening, appealing charac ters, a vivid setting, and a significant subject. However, these strengths

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SFRAReview,202, December 199249are undercut by a plot that wanders away from themostinteresting the matic material into standard detective territoryandby the endless ethical debates between the chief detectives, a father and daughter legal team. The novel beginsinthe midstofa paranoid fantasymadereal: the viewpoint character gradually discovers that he has lost months or years of hislifewhile being keptina state of hazy amnesia by a sinister psychologist named Dr. Brandywine. He shakes off the drugs, remembers his name,lucasKendricks, and escapes to find his wife and son.Atthis point the point of view shifts to Nell Kendricks, who hasn't seen or heard from her husband for seven years. Nell livesinan idyllic setting, a forested piece of landinOregon. Sheisdevoted to protecting her ancient trees and her young children and has acquired a married lover. The last thing she needsisto have a waywardandirresponsible husband reappear.Yethe does reappearinthe woods, mysteriously, laughing, calling to her tocomesee some secret wonder, just before heisblown away by a rifle shot.Onceagain, Wilhelm shifts viewpoint to Barbara Holloway, the disaf fected legal eagle who has fled her father and her practice butwiII,of course, be unable to resist defending Nell against the charge that she killed her hus band.Forthe bulkofthe novel,weareinfamiliar detective story territory: interviewing suspects, tryingouttheories, trackingdownalibis, and follow ing money trails. Wilhelm works through this material competently, but noneofitseems as interesting as the secretlucaswas hiding. That secret concerns computers, chaos theory, adolescence, madness, and perhaps access to strange new realities. Only at theendofthe story,oncethemystery has been worked out, does the Mystery reemerge. Whenitdoes, the fascinating realmofMandelbrot sets and strange attractors be gin to take onnewsignificance as a wayofseeing human lives, including those that have just playedouttheir drama of murder and justice. I had the feeling thatitwould all come together about thirty pages after the actual endofthebook-Wilhelmcuts us off just as things get most interesting. A great book could be written linking scientific and criminal investiga tions, models of chaos and the turbulence of human behavior.KateWilhelm, an intelligent practitionerofboth detective novels and science fiction, may well be theoneto writeit.This book isn't it, but it's worth your time while you wait for the masterpiece.Brian Attebery

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50SFRAReview,202, December 1992Audio-VideoJapaneseVideoTaleCanyon,S.&P.Vampire Princess Miyu,AnimEigo, 1992 (1988, 1989 by Soeishinsha & Pony Canyon).100min.LaserDisc from AnimEigo, P.O.Box989, Wilmington,NC,28402, 919-251-1850, $64.95+S&H.1-56567-018-3. This laser disc contains four subtitled episodes of an exemplary Japanese animation series. The translationofthis dark fantasyisexceptionally articu late. Viewers will not have problems following the story. The stories unfold with the modern Japanese spiritualist Himiko, and her encounters with Miyu, a mysterious young girl,andher silent companion, larva. "Unearthly Kyoto"isthe first episode. Himiko travelstoKyoto, the an cient capital of Japan. Sheisaskedtoperform an exorcismona sleeping child by the parents. After an unsuccessful attempt, Himiko stays to inves tigate other mysterious incidents. She discovers evidence that suggests vam pire involvement. Himiko witnesses Miyu bestOWing the kiss of bloodona young girl. Sheisconfidentthatshe has discovered the sourceofthe vam pire attacks, but things are seldom as they initially seem. Himikoishired to solve the disappearancesofseveral students in the second episode,"ABanquetofMarionettes". Apeculiardoll has been sighted at the place of each disappearance. Miyuisa studentatthe school where the disappearances have occurred.WhenHimiko recognizes Miyu, she starts following her. Himiko rapidly reaches the conclusion that MiyuisafterKei,the school hero.Keiisinlove, but not with Miyu. Shortly,Keimust choose betweenetemalloveoreternal life. Miyu recruits Himiko to help her battle an armored warrior in "Fragile Armor".Aspaymentforher assistance, Miyu reveals how she met larva, her silent companion. Someofthe mysteries surrounding Miyu are answered, but many remain.Inthe last episode, "Frozen Time", Himiko goes to Kamakura, her child hood home. She dreams of running awayinterror from a mysterious house. later, while walking, Himiko finds the houseofher nightmares, and discov ers Miyu living there.AsMiyu reveals both her pastandher destinytoHimiko, Himiko remembers Miyu as the child living in the mysterious houseofher dreams. She wondersifthey were actually dreamsorin fact, reality. Himiko perceives that her destiny and Miyu's are interwoven.Asexpected from a laser disc, the pictureissharpandthecolors excep tionally clear. Details are easily seen in background,onclothes and build ings.

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SFRAReview,202, December 199251The subtitles are yellow which make them more readable thanthetra ditional white subtitles. The individual letters are kerned for optimal view.ing.Thisisa slight curving that causes the letters to standoutfrom the back ground. The subtitles have been synchronized so that they appear within one frame of the beginning of the dialogue which they translate. These ac count for the easeinwhich the viewer can read the subtitlesandstill follow the visual actionofthe story. AnimEigo adds an additional touch of excel lence to their subtitles, with secondary subtitlesinred containing the mean ings of words unfamiliartothe English audience. Thisisan exceptional feature for the collector or thefilmlibrary, because ofitsoverall high quality and haunting story line.Inthe future, AnimEigo will be the standard with which other Japanese animated titles releasedinthis country willbemeasured.E.Susan BaughFilm,TVNewsletterHenderson, Craig, ed.For YourEyesOnly.1973-. Irregular. $8.00/6 issues; sample, $2.Box1224, Lanham,MD20703. NoISSN.(Issues 2-23 $5 each; issues 24 to date, $2 each.)For YourEyesOnlyprovides fans with news on upcoming adventure and fantasy films andTVprograms, especially James Bond movies. Twenty-three issues were published in the 1970s and only six since the newsletter resumedin1990, but Henderson saysFYEOisnowpublished "bimonthlyexceptwhen it's not." Issue 29 has eight pages with only two small pictures, leaving plentyofroom for information. Three pages cover the legal and financial problems that make the productionofa new James Bond film problematic. The rest of the issue has brief news items onfilmandTVprojects, including two new cable services, The Sci-Fi Channel and The Cartoon Network; a music col umn (here reviewing aCDofmusic fromThe Prisonen;twelve obituaries; and reviews of theTVseriesJamesBondJr.,Eerie, Indiana, Young Indiana JonesandMannandMachineand the film,BorisandNatasha.Both news and reviews areindependentandcritical.Ofthefive titles reviewed, Hendersonisenthusiastic only aboutEerie, Indiana;heisfrank about pro ducer Albert Broccoli's failure to find a successful newtonefortheBond films.FYEOshould interest serious fans but libraries can safely skipit.Michael Klossner

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52SFRAReview,202,December1992SuperficialLookatUniversalThomas, Tony.TheBestofUniversal.Vestal,NY:Vestal Press, 1990. 102p.$10.95.0911572929.Distributed by Magiclmage Filmbooks,740S.6th Ave., Absecon,NJ08201. Foundedin1912,Universalisthe oldest major U.S. stud.io. Thomas superficiallycoverall genresinUniversal'soutput-Westerns,ro mances, dramasandcomedies as well as fantastic films.Evenduring the 1930stheheadsof Universal,theLaemmle family and their successors, considered the famous Universal horror films something of an embarrass ment. Thomas devotesoneparagraphofdescription and enthusiastic ap praisal toeachfamous movie. His chapteronhorrorisonly twelve pages long.Inaddition to the horror classics ofthe1930sand 40s, Universal's fantasticfiImshave incl uded thesilentHunchbackofNotre DameandPhan tomofthe Opera,theFlashGordonserials,TheCreature from the Black Lagoon,TheIncredible Shrinking Man, Harvey, Bedtime for Bonzo,TheBirds,Jaws,E.T.,the Conan movies andBack to the Future.Thomas refers to Oscar-winning makeup artist Rick Baker as Rick Davis. Heavily illus trated,TheBestofUniversalisintended for novice fans andisnot recommended even for them. Standard books on Universal's horror movies are Gregory Mank'sIt's Alive!(1981) andUniversal Horrors(1990) by Michael Brunas and others. Clive Hirschorn's TheUniversal Story(1983) covers the studio's entire out put.MichaelKlossner

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SFRAReview,202,December1992INDEX TOBOOKREVIEWSintheSFRAREVIEW,199253194:Jan/Feb.195: March 196: April 197: May 198: June 199: Jul/AugiSep 200:October 201: Nov 202: December Abbey, TheWoodenSword. (Bartter)/200 Ackerman, Famous MonstersofFilmland, No.2. (Klossner)/202 Adams,DayGoneBy:AnAutobiography. (Sanders)/l 96 Aertson&MacDonald, eds., Companion to Middle English Romance. (Thompson)/200 Aguirre, Closed Space. (Collings)/195 Aickman, Unsettled Dust. (Morgan,0/194Aiken, AFitofShivers. (Morgan, P)/194 Alexander, Philadelphia Adventure. (Mingin)/194 Allen, UnderstandingKurtVonnegut. (Wolfe)/197 Amis, Memoirs. (Ruddick)/198 Anderson&Beason, Trinity Paradox, The. (Mallett)/198 Anisfield,ed.,Nightmare Considered: EssaysonNuclear War Literature. (Morrison)/201 Anthony, IsleofView. (Hitt)/195___ Mer-Cycle. (Collings)/194 ...,--__, Virtual Mode. (Wells)/198 Armstrong, Agvig. (Levy)/196 Arnasson,WomanoftheIronPeople. (Strain)/196 Asimov&Silverberg, Nightfall. (Butrym)/195 Asimov, Asimov's Galaxy: ReflectionsonScience Fiction. (Latham)/196__ -', Robot Visions. (West)/195 Asprin, Phule's Paradise. (Lawson)/198 Attebery, StrategiesofFantasy. (Mathews)/l98Baehr, Paradise Myth in Eighteenth Century Russia. (Lewis)/201Baliol, Magefire:FirstBookofAmuletsof Darkness Cycle. (Morgan, P)/195 Bammer, Partial Visions: FeminismandUtopianism in the 1970s. (Williams)/198 Banks, UseofWeapons. (Morgan, P)/194 Barrett&Heins, AddendaandErrata.(Albert)/198 Barrett, Digital Dreams. (Morgan,0/194Barron, Heartlight. (Mingin)/194 Barry, Technobabble. (Barron)/196 Beahm, Stephen King Story: A Literary Profile. (Neilson)/196 Bear,QueenofAngels. (Smith, P)/194 Beason (Anderson&),Trinity Paradox, The. (Mallett)/198 Beetz&Niemeyer, eds., Beacham's Guide to LitforYoung Adults. (Barron)/l 96 Bellairs, Face in theFrost.(Strain)/198

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54SFRAReview,202,December1992Benedikt, ed.,Cyberspace:FirstSteps.(Stevens)/199 Benton,Superhero Comicsofthe Silverage: The Illustrated History.(Latham)/198 Bergen,Price&Reference GuidetoBooksbyEdgar Rice Burroughs.(AIbert)/2 01 Berkey,John Berkey, Painted Space.(Albert)/196 Bertha, (Morse&,eds.),More Real Than Reality.(Sullivan)/198besShahar,Hellflower.(Gardiner-Scott)/202 Bierce,21LettersofAmbroseBierce.(Collings)/195 Bifulco,RocketMenofMovies.(Klossner)/196 Blair,Bright Angel.(Parkin-Speer)/198; (Mead)/200 Blaylock,Lord Kelvin's Machine.(Mallett)/199 Botting,Making Monstrous: Frankenstein, Criticism, Theory.(Parish)/202 Bova,Mars.(Hellekson)/200 Boyll,Mongster.(Sanders)/196 Bradbury,Yestermorrow:ObviousAnswerstoImpossible Futures. (Williams)/201 Bradley, ed.,Sword & SorceressVII:AnthologyofHeroic Fantasy.(Strain)/198_____, LeroniofDarkover.(Mullen&Berman)/199 =---;:-_-..,..._, RenunciatesofDarkover.(Berman&Mullen)/201 Bradley, May,&Norton,Black Trillium.(Reilly)/196 Bradshaw,Dragonandthe Thief.(Minkin)/194 Brennan,Genesis Web.(Mallett)/201 Brennert,Her Pilgrim Soul.(Bogstad)/l 96___,MaQuiandOther Phantoms.(Sanders)/l 98 Brin,Earth.(Collins)/199 Broderick,Nuclear Movies:ACritical Analysis.(Brians)/198 Brooke,Keepersofthe Peace.(Stableford)/195 Brooks,DruidofShannara.(Hitt)/195__, ElfQueenofShannara.(Mallett)/200 =-_-', Scions ofShannara.(Herrin)/195 Brosnan,WaroftheSkyLords.(Morgan, P)/197 Brown,Time-Lapsed ManandOtherStories.(Stableford)/197; (Morgan,P)/l96Brown, ed.,Pandemonium: Further Exploration into WorldsofClive Barker.(Neilson)/201 Bujold,Spirit Ring.(Baugh)/202Burgess,Reference GuidetoSF/F/Horror.(Barron)/199 ,,__--, WorkofRobert Reginald.(Barron)/200 Burns,Jim Burns Portfolio.(Albert)/194 Burton,Frankenweenie.(Klossner)/200 Busby,K.,ed.,Arthurian Yearbook:I.(Sullivan)/200 Busby, F.M.,SlowFreight.(Dudley)/200 Butcher,Verne'sJoumeytoCentreofSelf.(Hall)/195 Cadnum,Nightlight.(de Lint)/196

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SFRAReview,202, December 199255__, Sleepwalker.(delint)/196 =-_-" Sf.Peter's Wolf.(Strain)/201 Cameron&Wisher,Terminator2:Judgment Day.(Klossner)/195 Campbell,Needing Ghosts.(delint)/l96Cantrell,Torments.(Reynolds)/196 Canyon,Vampire Princess Miyu.(Baugh)/202 Capobianco,Burster.(Kaveny)/197 Card,MemoryofEarth.(Hellekson)/198 Carpenter&Kolmar,Haunting the HouseofFiction.(Moore)/194 Carpenter & Shirley,L.Frank Baum: Royal HistorianofOz.(Barron)/200 Carroll,J.,Black Cocktail.(Stableford)/197 Carroll,L.,The Complete SylvieandBruno.(Albert)/202 Carter (Thompson&),Qualinesti.(Wells)/195 Carter,OldWives Fairy Tale Book.(Klossner)/194 Cassutt,DragonSeason.(Mallett)/201 Cherryh,Chernevog.(Bogstad)/196 -:::-;----;::-_, Yvgenie.(WiIIiams)/202 Cheyfitz,PoeticsofImperialism: The Tempest to Tarzan.(Wolfe)/197 Chretien,Lancelot,or,Knightofthe Cart.(Kratz)/194 Clark,Modern Satiric GrotesqueandItsTraditions.(Williams)/199 Clarke,Talesfrom PlanetEarth.(Dunn)/195 Clayton,Shadowkill.(Becker, G)/195 ___ Shadowplay.(Becker, G)/195 ___ Shadowspeer.(Becker, G)/195 __ ,WildMagic.(Becker, G)/195 Coates,Gorgon's Gaze: German Cinema, Expressionism,&ImageofHorror(latham)/197Cole,LabyrinthofWorlds: Star Requiem4.(Morgan, P)/197__, WarlordofHeaven: Star Requiem3. (Morgan, P)/197 Collins&latham,eds.,SF&F Book ReviewAnnual1990.(Barron)/195 Cook,In Memoriam:Lovecraft-.(Collings)/195Cooney,Cheerleader.(Hummel)/194Cooper,SleepofStone.(langer)/198Corbett (Stein&),Psyche's Stories.(Sullivan)/197 Cornwell,Literary Fantastic From GothictoPostmodemism.(Stableford)/194Couliano,OutOfThisWorld.(Stevens)/195 Courlander,Bordeaux Narrative.(Kratz)!194 Courtney,VampireBeat.(Mallett)/198 Cox,The Addams Chronicles: Everything You Ever Wanted to Know.(Klossner)/l98Cranny-Francis,Feminist Fiction:UsesofGeneric Fiction.(Bartter)/194 Crispin, with Marshall,Serpent's Gift.(Gardiner-Scott)!202 Crispin (Norton&),Songsmith:aWitchWorldStory.(Strain)/200Crocco,Heroes Wanted.(Mingin)/200Cumbow,Orderinthe Universe: Filmsof]ohnCarpenter.(Dziemianowicz)/197 Cunningham,Elfshadow.(Wells)!199

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56SFRAReview,202,December1992Dahl,BestofRoald Dahl.(Dunn and Hiller)/200 Daniels,Marvel: Five Fabulous DecadesofWorld's Greatest Comics.(Latham)/195 Dann&Dozois, eds.,MagicatsII.(Hitt)/199 Datlow,ed.,AlienSex.(Bogstad)/196 David,etaI.,Star Trek:TheDisinherited.(Mallett)/198 David,Star Trek: Next Generation: Imazdi.(Mallett)/201 Davies, ed.,Science Fiction, Social Conflict, and War. (Williams, L)/194 Day,Tolkien: Illustrated Encyclopedia.(Mathews)/194 Dean, TamLin.(Chapman)/199deCamp,L.S.&c.,PixilatedPeeress.(Sanders)/194 DeChancie,Castle Murders.(Osborn)/195 Deleuze,The LogicofSense.(Stevens)/202deLint,Spiritwafk.(Strain)/199 Denning,ParchedSea,The.(Wells)/197 Dewey,P.Adventure Games for Microcomputers:AnAnnotated Directory.(Meyers)/197 Dewey,J.InaDark Time: Apocalyptic Temper in NuclearAge.(Latham) 196 Dick,Selected LettersofPhilipK.Dick,1974. (Latham)/,197 Dickerson,Finnsburgh Encounter,The.(Gardiner-Scott)/197 Dickson,WolfandIron.(Kaveny)/195 Dietz,Drifter.(Dudley)/199 Disney,Fantasia.(Klossner)/198 Docherty, ed.,AmericanHorrorFiction.(Dziemianowicz)/195 Donaldson,TheGap Into Conflict:TheReal Story.(Stevens)/202 =------,_-', The Gap Into Vision: Forbidden Knowledge.(Stevens)/202 Douglas,CupofClay: Book IofThe Taliswoman.(Herrin)/200 Downing,Planets in Peril:C.S.Lewis's Ransom Trilogy.(Sullivan)/200Dowis,Slow Dancing through Time.(Brizzi)/197Dowis(Dann&),eds.,MagicatsI/.(Hitt)/199 Drake,Surface Action.(Werbaneth)/194 Driscoll, (Randle&)Star Precinct.(Mead)/201 Duncan,Faery Lands Forlorn.(Wooster)/195 =-_-', Magic Casement.(Wooster)/195 Duncan (Shay&),MakingofTerminator2:Judgment Day.(Klossner)/195 Duriez,C.S.Lewis Handbook.(Sullivan)/194 Dziemianowicz, et aI., eds.Famous Fantastic Mysteries.(Anglum)/202 Easthope,Literary into Cultural Studies.(Latham)/198 Easton,Woodsman.(Mead)!201Eddings,SeeressofKell.(Wytenbroek)/194 'Edwards, ed.,Tasteofthe Pineapple.(Stevens, W)/194 Effinger,ExileKiss.(Levy)/194 Elliott (with Gallun),Starclimber.(Lewis)/195 Elwell,Evolutionofthe Future.(Berger)/195 Emerson, ed.,FuturesPast:Visual Guidebook toSFHistory.(Barron)/196

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SFRAReview,202, December 199257Engen, Sir John Tenniel: Alice's White Knight. (Albert)/198 Etherington,ed.,Annotated She. (Bleiler; Ruddick)/195 Farmer,RedOrc's Rage. (Chapman)/199 Farris, Fiends. (de Lint)/197 Fawcett, (Stasheff&,eds.), The Craners. (Kratz)/201 Feist&Wurts, Mistressofthe Empire. (Strain)/198 Felice, Khan's Persuasion. (Bogstad)/194 Fenn, Kent MontanaandReally Ugly Thing From Mars. (Dunn)/196 Filmer, ed., Victorian Fantasists. (Lowentrout)/198 Fischer, Horror Film Directors, 1931-1990. (Klossner)/197 Fishburn&Hughes, DictionaryofBorges. (Stableford)/196 Flint, Cromm, ANovelofDark Fantasy. (Herrin)/196 Flynn,InCountryofthe Blind. (Butrym)/196 Fonstad, AtlasofMiddle-Earth. (Collings)/198 Forrest, PhoenixFire.(Strain)/202 Forward, Martian Rainbow. (Sanders)/194 Foss, Chris Foss Portfolio. (Albert)/194 Foster, Cat-a-Iyst. (Becker, M)/195 Fowler, Rune. (de Lint)/197; (Larrier)/195 Fowler, Peripheral Vision. (Levy)/194 Fox, The Lion, the Witchandthe Wardrobe. (Klossner)/200 Franklin, Light in Exile, The. (Bogstad)/197 Franz, Individuation inFairyTales. (Sullivan)/197 Friedman,L.,Mary Stewart. (Williams)/197 Friedman, C.S., Black Sun Rising. (Strain)/196 Gallagher, D., Vision:.FireDream. (Mallett)/198 _.,.,..-....,...-----,,-', The Alien Dark. (Mallett)/198 Gallagher,S., Rain. (de Lint)/196 Gallun (with Elliot) Starclimber. (Lewis)/195 Gardiner-Scott, Mervyn Peake: Evolutionofa Dark Romantic. (Stableford)/195,196Gardner, M., Gardner'sWhysandWherefores. (Latham)/196 Gardner, C.S., BrideofSlime Monster. (Dunn)/196 The Other Sin bad. (Strain)/202-----____ -', RevengeofFluffy Bunnies. (Dunn)/196 -,__ --:-_" SlavesofVolcanoGod.(Dunn)/196 Garnett,ed.,Orbit Science Fiction Yearbook: Three. (Morgan, P)/197 Zenith 2: Best inNewBritishScienceFiction. (Morgan, P)/197Gay, Mindsail. (Morgan, C)/197 Gear&Gear, Peopleofthe Wolf. (Klossner)/196Gemmell, LionofMacedon. (Morgan, P)/197 QuestForLost Heroes. (Morgan, P)/197 Gentle, ScholarsandSoldiers. (Morgan, P)/197 George,ed.,Femme Fatales. (Klossner)/201 Gibberman, Star Trek: Annotated Guide. (Taormina)/196 Gilman, A Nonfiction Reader,ed.Larry Ceplair. (levy)/200

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58SFRAReview,202,December1992Golden,ed.,Cut! Horror WritersonHorror.(Dziemianowicz)/202 Goldstein,Daily Voices.(Levy)/197 Goodrich,Guinevere.(Thompson)/194 Gordon,The Mask: The Thirdbookofthe Watchers.(Morgan, P)/l98Gordon-Wise,ReclamationofaQueen: Guinevere in Modern Fantasy.(Williams)/195 Graf,Star Trek: IceTrap.(Mallett)/201 Green, NoHavenForthe Guilty.(Morgan, P)/194 Greenberg, M.H., ed.,After theKing:Stories in HonorofTolkien.(Sullivan)/202 Greenberg (Nolan&),eds.,Urban Horrors.(de Lint)/197 Greenberg (Norton&),eds.,CatfantasticII.(Dudley)/195 Greenberg,R.&M., eds.Dragon Fantastic.(Wytenbroek)/200 Greenland,Take Back Plenty.(Stableford)/197 Grey,NightmareofEcstasy: LifeandArtofEdwardD.Wood,jr.(Klossner)/200 Griffin,Otto from Otherwhere.(Greenfeder)/194 Griffin, with Norton,StormsofVictory.(Strain)/198________, The Turning.(Strain)/198 -:=---o;---=-:-:---:-:=---" Witch World.(Strain)/198 Gross, ed.,Critical EssaysonFranz Kafka.(Taormina)/195 Grossberg,etaI., eds.,Cultural Studies.(Latham)/198 Grotta,j.R.R. Tolkien: ArchitectofMiddle-Earth.(Collings)/202 Gunn,Inside Science Fiction: EssaysonFantastic Literature.(Barron)/199 Guon, (Lackey&)KnightofGhostsandShadows.(Mallett)/201 Hackett,Fantasy Wargaming: Games with Magic&Monsters.(Stableford)/195 Hall, comp.,SF&F Book Review Index.(Barron)/199 Hambly,Rainbow Abyss, The.(Mallett)/197 -:-:-_-', MagiciansofNight.(Hellekson)/201 Hammond,H.G.WellsandRebecca West.(Taormina)/200 Hanke,Critical Guide to HorrorFilmSeries.(Latham)/201 Hardy,ed.,Science Fiction: AurumFilmEncyclopedia.(Stableford)/195 Harness,Lunar justice.(Levy)/194 :-:--:-_' Lurid Dreams.(Stevens)/197 Harris,FictionandFolklore: NovelsofToni Morrison.(Bartter)/201 Harrison,Salman Rushdie.(Heller)/202 Hass_n,Index to Mexican Science-Fiction Magazines.(Barron)/195 Hawkins,ClassicsandTrash:TraditionsandTaboos.(Kratz)/198 Heinlein,Requiem: Collected WorksandTributes.(Smith)/l96 :-:-:--=-,' Tramp Royale.(Smith)/201 Heins (Barrett&),AddendaandErrata.(Albert)/198 Henbest,Universe: Computer-Generated Voyage Through Space&Time.(Morrison)/201 Henderson,ed.,ForYour Eyes Only.(Klossner)/202 Herbert, M.,Lightning's Daughter.(Strain)/195

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SFRAReview,202,December1992 Lightning's Daughter.(Gardiner-Scott)/199 Herbert, J.,Creed.(Morgan, P)/198 Herdman,Double in Nineteenth-Century Fiction.(Stableford)/199 Hill,Colloghi Conspiracy,The.(Morgan, C)/197 Hinde,ed.,Lewis Carroll: Looking Glass Letters.(Stevens)/201 Hinkemeyer,Orderofthe Arrow.(Kratz)/194 Hinz,The Paratwa:TheParatwa Saga-Book3. (Sammons)/194 Hoffman,Hoffman's GuidetoSF,Horror&Fantasy Movies 1991-92.(Stableford)/198 Hofstede,Hollywoodandthe Comics.(Hall)/196 Hollis,AncientEgyptian ''TaleofTwoBrothers".(Kratz)/195 Howard,Howard's Fight Magazine#3. (Elms)/196 Huff,Blood.(Gardiner-Scott)/202 Hughart,Eight Skilled Gentlemen.(Schuyler)/198 Hughes,The Crystal Drop.(Wytenbroek)/202__, Invitationtothe Game.(Wytenbroek)/200 Hughes (Fishburn&),DictionaryofBorges.(Stableford)/196 Huntington,ed.,CriticalEssaysonH.G.Wells.(Taormina)/198 Ingrid,Sand Wars: ChallengeMet#6. (Mullen)/194 Jablokov,CarvetheSky.(Levy)/195 Jacobs&Tunnell,LloydAlexander:ABio-Bibliography.(Levy)/196 James, P.,Sweet Heart.(Morgan,0/195James, J.,Sing foraGentle Rain.(Becker,M)/194James,L.,Kingslayer.(Mallett)/201 Jeschke,Midas.(Stableford)/195 Johnson,ed.,Delirious: Fantasy Film Magazine.(Klossner)/201 Jones&Sutton, eds.,FantasyTales5. (Morgan,0/197Jones (Sutton&),eds.,DarkVoices2. (Morgan,0/197Jones,R.,Aliens, Monsters&Me:Fantasy FilmWorldofRay Harryhausen.(Klossner)/198 Jones, J.,Fly By Night.(Morgan, P)/196 Jones,D.,Unicorn Highway.(Strain)/200 Jones,S.,ed.,Clive Barker's Shadows inEden.(Neilson)/201Jordan,S.,ATimeofDarkness.(LaGuire)/200Jordan,S.,Juniper Game.(Vara)/194 Jordan, A.D., ed.,FiresofthePast:Thirteen Contemporary Fantasies.(Smith)/19759Kaler,The Picara: From HeratoFantasy Heroine.(Hollinger)/198Kay,Tigana.(Bogstad)/195 Kelly,CloudPeople.(Gardiner-Scott)/199 Kendrick,ThrillofFear:250YearsofScary Entertainment.(Collings)/195 Kerman,ed.,Retrofitting Blade Runner.(Wolfe)/194 Ketterer,Canadian Science FictionandFantasy.(Ruddick)/199 Keulen,Radical Imagination.(Williams,U/197

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60SFRAReview,202, December 1992Kies, Presenting YoungAdultHorror Fiction. (Levy)/198 Kilworth, Midnight's Sun: A StoryofWolves. (Morgan, P)/198Kinnard, Comics Come Alive:AGuide to Live Action Productions. (Hall)/198 Klaic', PlotofFuture:UtopiaandDystopia inModemDrama (Smith)/201 Knight,ed.,Monad: Issue2.(Barron)/200 Kolmar (Carpenter&),Haunting the HouseofFiction. (Moore)/194 Kumar, Utopianism. (Bartter)/196 Lackey, WindsofFate:BookOneofMage Winds. (Becker, M)/195 :---.--" Bardic Voices. (Mallett)/201 Lackey&Guon, KnightofGhostsandShadows. (Mallett)/201 Lackey (Norton&),Elvenbane. (Strain)/l96 Lansdale, StoriesbyMama Lansdale's Youngest Boy. (Sanders)/198 Latham (Collins&),eds.,SF&F Book Review Annual 1990. (Barron)/195 Latham&Latham,AnAnnotatedCritical BibliographyofWilliam Morris .. (Mathews)/197 Laumer, Stars Must Wait. (Becker, M)/194 Lawhead, Silver Hand. (Strain)/201 Lawrence, Andra. (Nacinovich)/194 Lee, Black Unicorn. (Blakeley)/194 Lee,J.,(Slade&),eds.,Beyondthe Two Cultures. (Morrison)/202 Lenz, NuclearAgeLiteratureforYouth. (Brians)f196 Lewitt, Blind Justice. (Hall)/194 Logston, Shadow. (Gardiner-Scott)/199 Luenn, Goldclimbers. (Rosenbaum)/l94Lumley, The HouseofDoors. (Dudley)/194 Lupack, ed.,ModemArthurian Literature. (Williams)/202 MacDonald (Aertson&)eds., Companion to Middle English Romance. (Thom pson)/200 Macdonald,A.,FigureofMerlin in French Romance. (Thompson)f194 Macdonald, D., Poor Polidori. (Frank)/194 Madden, Outbanker. (Rothschild)/196 Maddox, Halo. (Reilly)/202 Magistrale, StevenKing:TheSecondDecade. (Collings)/200 _-----,-,,..-_, ed., Dark Descent: Essays Defining Stephen King's Horrorscope. (Mallett)/201 Mahy, Door in the AirandOther Stories. (Herbst)/200 Mallett & Reginald, Reginald'sSFandF Awards. (Barron)/195 Malmgren, Worlds Apart: NarratologyofScience Fiction. (Latham)/196 Mann, Wulfsyarn: A Mosaic. (Sanders)/201 Marks, Moonbane Mage, The. (Bogstad)/197 Martin, V., Mary Reilly. (Kratz)/194 Martin, G.R.R., ed., One-Eyed Jacks. (Smith)/196 Mason, Solo. (Reilly)/202 Matthews, Rodney Matthews Portfolio. (Albert)/194 May (Bradley, Norton&),Black Trillium. (Reilly)/l96

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SFRAReview,202, December: 199261May, Edgar Allan Poe: Studyofthe Short Fiction. (Collings)/200 Mayer, Golden Swan. (Mingin)/194 McCaffery,ed.,Storming the Reality Studio. (Levy)/194; (Dudley)/199 McCaffrey, Damia. (Hellekson)/200 McCarty, John McCarty's Official Splatter Movie Guide, Volume 2. (Klossner)/200 McCombs&Palmer, Margaret Atwood: A Reference Guide. (Bartter)/198 McDonagh, Broken Mirrors/BrokenMinds.(Morris; Stableford)/195 McDonald,c.,Nightwaves. (Huhn)/194 McDonald, I., KingofMorning,QueenofDay. (Bartter)/201 McHugh, China Mountain Zhang. (Reilly)/202 McSherry, et aI., eds. Western Ghosts. (Hemesath)/194 McWhorter,EdgarRice Burroughs Memorial Collection: A Catalog. (Albert)/197 Meluch, Chicago Red. (Bogstad)/197 Menick, Lingo. (Erlich)/199 Merrill, ed., CriticalEssaysonKurt Vonnegut. (Wolfe)/194 Merritt, Dwellers in the Mirage. (Strain)/198 Meyers, George Orwell. (Ruddick)/201 Meyrink, Angelofthe West Window. (Bleiler)/201 Michalson, Karen. Victorian Fantasy Literature. (Sullivan)/202 Milazzo, ed., Conversations with Joyce Carol Oates. (Latham)/196 Miller,E.,SalemisMyDwelling Place: LifeofHawthorne. (Heller)/197 Miller,R.,Iceman. (Moore)/195 Mitchell, StarTrek:Next Generation: Imbalance. (Mallett)/201 Miyazaki, Warriorsofthe Wind. (Klossner)/198 Modesitt, The MagicofReduce.(Strain)/198 Moore, PracticalDemonkeeping. (Strain)/201 Morgan, Desert Eden. (Mallett)/198 Morlan, The Amulet. (Tryforos)/198 Morris, The Chalchiuhite Dragon: A TaleofToltec Times. (Mathews)/198 Morse&Bertha, eds., More Real Than Reality. (Sullivan)/198 Morwood, Prince Ivan. (Morgan, P)/197 Moskowitz, After All These Years .. .5am Moskowitz. (Barron)/201 Mu (Sirius&),eds., Mondo 2000. (Latham)/198 Murakami, Hard-Boiled Wonderlandandthe Endofthe World. (Schuyler)/202 Murphy, S., Catswold Portal. (Strain)/200 Murphy, P., PointsofDeparture. (Bogstad)/201 Naddaff, Arabesque: Narrative Structureandthe AestheticsofRepetition in the Nights". (Kratz)/200 Nathanson,Overthe Rainbow. (Latham)/202 Newman, Bad Dreams. (Stableford)/197 Niemeyer (Beetz&),eds., Beacham's Guide toLitfor Young Adults. (Barron)/l 96 Niles, Kinslayer Wars. (Wells)/195

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62SFRAReview,202,December1992Niven, et al.Fallen Angels.(Hennessey & Cameron)/194 Nolan&Greenberg, eds.,Urban Horrors.(delint)/197Noll,Vampires, Werewolves,andDemons.(Hollinger)/199 North,Young Astronauts.(Mingin)/196 Norton, ed.Grand Masters' Choice.(Gardener-Scott)/202 Norton&Crispin,Songsmith:aWitch World Story.(Strain)/200 Norton & Lackey,Elvenbane.(Strain)/196 Norton&Greenberg, eds.,CatfantasticII.(Dudley)/195 Norton (Bradley,May&),Black Trillium.(Reilly)/196 Norton, with Griffin,StormsofVictory.(Strain)/198_______ -', The Turning.(Strain)/198___ -:--:__ ---!' Witch World.(Strain)/198 Nye,Mythology 101.(Bartter)/195 Offutt,Deathknight.(Osborn)/196 Okuda&Sternbach,Star Trek,NextGeneration Manual.(Latas)/194 Olsen,William Gibson.(Levy)/202 Otomo,Akira.(Klossner)/198Page,Bloodlust: Conversations with Real Vampires.(Hollinger)/197 Palmer, (McCombs&)Margaret Atwood:AReference Guide.(Bartter)/198 Pasechnick&Youmans, eds.,The Bestofthe Rest, 1990.(Collins, R)/198 Patrick (Walker&),eds., AChristianforAll Christians.(Collings)/200 Peel,Uptime, Downtime.(Wytenbroek)/200 Penley&Ross,eds.,Technoculture.(Latham)/198 Pennington,Bruce Pennington Portfolio.(Albert)/194 Perucho,Natural History:ANovel.(Hollinger)/194 Pike,Sati.(Lawson)/194 Pines, T.,ed.Thirteen: TalesofHorror.(Steng)/194 Pitts,HorrorFilmStars.(Klossner)/195 Pohl&Williamson,SingersofTime.(Hellekson)/194 Pohl,Mining the Oort.(Sanders)/201 Pollotta,Doomsday Exam.(Lawson)/198 Potts,SecondMarxian Invasion.(McGuire)/194 Pournelle, ed.,There Will Be War, VolumeIX.(Werbaneth)/197 Pournelle&Stirling, GoTeUthe Spartans.(Mead)/201 Pratchett,Diggers.(Martin,C)/194___ ..J' Eric.(Morgan, P)/194___ -', Moving Pictures(Hellekson)/194; (Morgan, P)/194___ -', Reaper Man.(Hellekson)/200 ___.----:--" Wings.(Morgan, P)/l 94 Price, ed.,Black Forbidden Things: Cryptical Secrets.(Collins, W.)/200 Price,LinCarter:ALook Behind His Imaginary Worlds.(Collins, W.)/200 Priest,Quiet Woman/ The.(Morgan, C)/197 Quick,Singularities.(Stevens)/196

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SFRAReview,202, December 199263Rabe,Red Magic.(Wells)/199 Rammell,Nowherein America: Big Rock Candy Mountain.(Lewis)/l96 Ramsland,Prismofthe Night: BiographyofAnnRice.(Gordon)/196 Randle,DeathofaRegiment.(Mead)/201 -::----:-:-" ChainofCommand.(Mead)/201 Randle&Driscoll,Star Precinct.(Mead)/201 Rankin,Armageddon:TheMusical.(Morgan, C)/197 Raeper,ed.,GoldThread:EssaysonGeorge MacDonald.(Attebery)/199 Rasmussen,PassageofStars.(Sanders)/195 Rass,UrsulaLeGuin's LeftHandofDarkness.(Parish)/201 Rawn,Dragon Token: Dragon Star#2. (Wells)/201 Ray,NewPoverty Row: Independent FilmmakersasDistributors.(Moore)/197 Reed,Downthe Bright Way.(Levy)/194__, The Remarkables.(Collins, W)/202 Reginald (Mallett&),Reginald'sSFandF Awards.(Barron)/195 Reichert,Guardians#5:By Chaos Cursed.(Jeremias)/196 Reichardt, AWebofRelationship.(Williams)/202 Reiling,SilentMoon.(de Lint)/197 Rheingold,Virtual Reality.(Stevens)/l96 Richardson,J.AllenSt.John: Illustrated Bibliography.(Albert)/198 Riley,ed.,HouseofFrankenstein; Frankenstein MeetsWolfMan.(Klossner)/l96Robbins,SkinnyLegsandAll.(Collins, W)/195,196Roberson,Sword. Breaker.(Becker, G)/198 Robinson,Engendering the Subject.(Latham)/197 Rochon,The Shell.(Lehman)/194 Rodda,Finders Keepers.(Jeremias)/196 Rodgers,Bloodofthe Children.(Moore)/195 Fire.(Sanders)/195 Rodri'guez-Luis,Contemporary Praxisofthe Fantastic: BorgesandCorta'zar.(Attebery)/202 Rogow,Futurespeak:AFan's Guide to LanguageofSF.(Meyers)/197 Rohan,Chase the Morning.(Riggs)/l96 Rosenberg,Hero.(Butrym)/l96 Ross,Strange Weather: Culture, Science,&Technology.(Latham)/198Ross(Penley&,eds.),Technoculture.(Latham)/198 Rozzi,WaltzWithEvil.(Mallett)/197 Rucker,Transreal!(Kramer)/196 Saberhagen (Zelazny&),Black Throne.(Carper)/195 Sackett,Markofthe Werewolf.(Dudley)/196 Sage,ed.,GothicNovel:ACasebook.(Stableford)/195 Saha (Wollheim&),eds.,1990AnnualWorld'sBestSF.(Smith, P)/194 Salmonson,EncyclopediaofAmazons.(Strain)/194 Salvatore,Homeland. Book One.(Mullen)/194____, Exile. Book Two.(Mullen)/194

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64SFRAReview,202,December1992 -=-,Sojourn. Book Three. (Mullen)/194 Sampson, Black Smith's Telling. (Morgan, P)/198 Saul,SecondChild. (Kratz)/196 Sawyer, Golden Fleece. (de Lint)/197 Scarborough, Nothing Sacred. (Bray)/l 94 Schellinger (Watson&),eds., Twentieth-Century Science-Fiction Writers. (Barron)/197 Schoell, Comic Book Heroesofthe Screen. (Klossner)/201 Schick, Heroic Worlds. (Meyers, W&M)/194 Schl am, "Metamorphoses"ofApuleius:OnMakinganAssofOneself. (Kratz)/202 Service, BeingofTwo Minds. (Ratushny)/200 -::-;-__.'Under AlienStars.(Becker, M)/194 Sharp, RobinHoodandthe Sorcerer. (Klossner)/200 Shaw, Orbitsville Judgement. (Morgan, P)/197 Shay&Duncan,MakingofTerminator 2: Judgment Day. (Klossner)/195 Shea,InSearchofLovecraft. (Coil i ngs)/19 5 Shelden, Orwell: The Authorized Biography. (Barron)/202 Shetterly, Elsewhere. (Jeremias)/l96 Shettle, Flute Song Magic. (Mingin)/194 Shippey,ed.,Fictional Space. (Lewis)/195 Shirley (Carpenter&),L.FrankBaum: Royal HistorianofOz. (Barron)/200 Silverberg, Faceofthe Waters. (Hellekson)/194 Silverberg (Azimov&),Nightfall. (Butrym)/195 Silverman,EdgarAPoe: Mournful&Never-ending Remembrance. (Heller)/197 Simpson, Camelot Regained. (Williams, L)/194,198Singer, Zap! Ray Gun Classics. (Letson)/l96 Sirius&Mu, eds., Mondo 2000. (Latham)/198 Slade, Thomas Pynchon. (Sanders}/199 Slade&Lee, eds., Beyond the Two Cultures. (Morrison)/202 Smith,L.,ContactandCommune. (Collins, W)/197 Smith, G., EpicFilms:Casts, Credits/CommentaryonSpectacle Movies. (Klossner)/l 97 Smith,A.,ComeAwayHome. (McCarroll)/194 Smith, T., ReminiscencesofRobertE.Howard. (Elms)/196 Spencer Library. Dolby Recorded Cassettes. (Barron)/200 Spignesi, Shape Under the Sheet: Complete Stephen King Encyclopedia. (Collings)/195 Spinrad, The ChildrenofHamelin. (Collings)/194 Sprague,ed.,InPursuitofDoris Lessing. (Hollinger)/194 Springer,RedWizard. (Jeremias)/194 Stabb, Borges Revisited. (Sanders)/194 Stableford, ed., Dedalus BookofDecadence (MoralRuins).(Morgan,0/197Stasheff&Fawcett, eds., The Crafters. (Kratz)/201 Stasheff, WarlockandSon. (Kratz)/201 Staskowski, Science Fiction Movies. (Klossner)/200

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SFRAReview,202, December 199265Steakley,VampireS.(Blakeley)/195 Stein&Corbett, eds.,Psyche's Stories.(Sullivan)/197 Stephenson,OutofNight&Into Dream:J.G.Ballard.(Ruddick)/196 Sternbach (Okuda&),Star Trek,NextGeneration Manual: (Latas)/194 Stine,Baby-SitterII.(Maloney)/194 --' Beach Party.(Stauber)/l94Stirling, (Pournelle&)GoTell the Spartans.(Mead)/201 Strieber,Billy.(Dudley)/197 Sturgis,ed.,WomenWhoWalk ThroughFire,The.(Sherman)/197 Sutton&Jones, eds.,Dark Voices2. (Morgan,0/197Sutton (Jones&),eds.,Fantasy Tales5. (Morgan, C)/197 Swithen,Princes ofSandastre.(Morgan, P)/198 Sykes,RedGenesis.(Dietz)/200 Tarchetti,Fantastic Tales.(Taormina)/202 Tarr,DaggerandThe Cross.(Wytenbroek)/197 Taylor,Fantasy ArtofGeoffTaylor.(Stableford)/198 Tepper,Beauty.(Gordon)/200 Terrell,StephenKing:ManandArtist.(Collings)/202 Testa,Desireandthe Devil:DemonicContracts.(Stableford)/198 Thiher,FranzKafka:Studyofthe Short Fiction.(Taormina)/195 Thomas,B.,Disney's ArtofAnimation.(Albert)/199 Thomas, T.,ME:ANovelofSelf-Discovery.(Ciarrocca)/200 Thomas, Tony,BestofUniversal.(Klossner)/202 Thompson,WorkofWilliam Morris.(Mathews)/201 Thompson&Carter,Qualinesti.(Wells)/195 Tolkien&Tolkien,Tolkien Family Album.(Collings)/198 Treptow, ed.,Dracula:Lifeand TimesofVIadTepes.(Dziemianowicz)/202 Tunnell (Jacobs&),Lloyd Alexander:ABio-Bibliography.(Levy)/196 Turner,Rosemary's Witch.(Golden)/194 Van Seyoc,Deepwater Dreams.(Parkin-Speer)/201 Vance,Chateaud'ifandOther Stories.(Schuyler)/202__, EcceandOldEarth.(Mead)/200 Varley,Steel Beach.(Lewis)/201VideoHound's Golden Movie Retriever1991. (Barron)/194 Velde,User Unfriendly.(Lowentrout)/198 Verne,Twenty Thousand Leagues Under the Sea.(Hall)/200 Vinge, J.,SummerOueen.(Hellekson)/l96; (Mead)/198 Vinge, V., AFireUpon the Deep.(Hellekson)/198 Vonarburg,Silent City.(Stone-Blackburn)/201 Wagenknecht,Seven MastersofSupematural Fiction.(Sanders)/198 Wagner,ed.,Intensive Scare.(Stamm)/197 Walker&Patrick, eds., AChristianforAll Christians.(Collings)/200 Warrington,Rainbow Gate, The.(Morgan, P)/198 Watson&Schellinger, eds.,Twentieth-Century Science-Fiction Writers.(Barron)/197

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66SFRAReview,202, December 1992Watson,I.,FliesofMemory,The.(Morgan, C)/197 Watson,E.,TelevisionHorrorMovieHosts: ExaminedandInterviewed.(Klossner)/201 Wells,c.,EarthisAllThatLasts.(Gordon)/200 Wells,A.,The Third Bookofthe Kingdoms: The Way Beneath.(Morgan, P)/198 Westwood,HeCame From the Shadows.(jeremias)/194 White,SilentStarsGoBy.(Mead)/201 Whitlark,Behind the Great Wall.(Taormina)/198 Wiater,DarkVisions: ConversationswithMastersofHorrorFilm.(Dziemianowicz)/202Wilde,HappyPrinceandOther Stories.(Sullivan)/196Wilhelm,CambioBay.(Bogstad)/200 ___, Death Qualified:AMysteryofChaos.(Attebery)/202 ----,.,.,,..,..-_, StateofGrace.(Sanders)/197 Williams,DaysofAtonement.(Levy)/196 Williamson (Pohl&),SingersofTime.(Hellekson)/194 Wilson,TheTery.(Strain)/196 Wingrove,Chung Kuo: Broken Wheel.(Morgan, P)/195 Wisher, (Cameron&),Terminator2:Judgment Day.(Klossner)/195 Wisler,TheMindTrap.(Becker, M)/196Wolf,WhoP-P-P-Plugged Roger Rabbit?(Lawson)/198 Wolfe,Castleview.(Asbury)/194 -I Storeys from theOldHotel.(Chapman)/200Wollheim&Saha,eds.1990AnnualWorld's BestSF.(Smith, P)/194 Wrede,Mairelon the Magician.(Strain)/198 Wrede,Searching for Dragons: Enchanted Forest Chronicles2. (Wells)/ 200 Wren,GiftUpon the Shore.(Bogstad)/196 Wrightson,Berni Wrightson:ALook Back.(Stevens)/198 Wuletich-Brinberg,Poe: Rationaleofthe Uncanny.(Neilson)/194 Wurts (Feist&),Mistressofthe Empire.(Strain)/198 WynneJones,Castle in the Air.(Mingin)/196 Yep,Dragon Cauldron.(Hilgartner)/194 Yolen,Wizard's Hall.(Mallett)/200 Youmans (Pasechnick&),eds.,TheBestoftheRest,1990.(Collins,R)/198 Yule,Losing Light: TerryGilliam&MunchausenSaga.(Klossner)/196 Zahn,Star Wars 2:Dark Force Rising.(Hellekson)/201 Zambreno, APlagueofSorcerers.(Brink)/200 Zelazny and Saberhagen,Black Throne.(Carper)/195


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