SFRA Review

SFRA Review

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SFRA Review
Alternate Title:
Science Fiction Research Association Review
Science Fiction Research Association
Place of Publication:
[Eugene, Ore
Science Fiction Research Association]
Publication Date:


Subjects / Keywords:
Science fiction -- History and criticism ( lcsh )
Fantasy fiction -- History and criticism -- Periodicals ( lcsh )
Science fiction -- Book reviews -- Periodicals ( lcsh )
Fantasy fiction -- Book reviews -- Periodicals ( lcsh )
non-fiction ( marcgt )
serial ( sobekcm )


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Place of publication varies.

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Source Institution:
University of South Florida Library
Holding Location:
University of South Florida
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All applicable rights reserved by the source institution and holding location.
Resource Identifier:
S67-00096-n209-1994-01_02 ( USFLDC DOI )
s67.96 ( USFLDC Handle )

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SFRA Review 1209, January/February 1994 In THII IIIUE: BFRAREVIEW laaUB #20B, January/FBbruary 1BBIt IFRR IRTERRRL RFFRIRI: President's Message (Mead) Letter from the President (Mead) 1994 SFRA Conference Update (Mallett) New Members & Changes of Address Letter from the Treasurer (Ewald) Letter to the Editor (Lerner) Response to Lerner's Letter (Mallett) Rebuttal to Gary Westfahl's Article "On Science Fiction Fans" SFRAR #207 (Miller) Editorial (Mallett) IIERERRL mIBCELLRRY: Forthcoming Books (BarronlMallett) News & Information (BarronlMallett) FERTUREI: Feature Article: "Amazing Stories: Science Fiction and Science Fact in New Mexico" (JoinerlFletcherlLewis) Feature Review: Coblentz, Stanton A. & Jeffrey M. Elliot. Adventures of a Freelancer: The Literary Exploits and Autobiography of Stanton A. Coblentz. (Eng) REVlEWIi: Raaflctlal: Galbraith, Stuart IV. Japanese Science Fiction, Fantasy. and Horror Films: A Critical Analysis of 103 Features Released in the Umted States, 19S0-1992. (Klossner) Hutchings, Peter. Hammer and Beyond: The BrItish Horror Film. (Klossner) Marrero, Robert. Dracula: The Vampire Legend on Film. (Mallett) Marrero, Robert. Vinta8e Monster Movies. (Mallett) Shatner, William & ChrIS Kreski. Star Trek Memories. (Mallett) Stein, Kevin. The Gwde to Larry Nivens Ringworld. (Mallett) Wolfe, Alan. The Hwnan Difference: Animals, Computers. and the Necesslty of Social Science. (Miller)


SFRA Revlew'209. JaDuary/February 1994 FIctIII: ab Hugh, Dafydd. Arthur War Lord (Mallen) ab Hugh, Dafydd. Star Trek: Deep Space Nine: FaDen Heroes. (Mallett) Anthony, Piers. Demons Don't Dream. (Mallett) Asprin, Robert. Sweet Myth-teryoflife. (Zehner) Baker, Will. Shadow Hunter. (Strain) Bell, Oare. The Jaguar Princess. (Strain) Benmann, Hans. The Broken Goddess. (Strain) Bull, Emma. Finder: A Novel of the Borderlands. (Strain) Carey, Diane. Star Trek: The Next Generation: Descent. (Mallen) David, Peter. Star Trek: The Next Generation: StarDeet Academy: Swvival (Mallett) de Lint, Charles. The Wild Wood. (Zehner) Devereux, Robert. Deadweight. (Umland) Drake, David. The Sharp End (Strain) Drake, David. The Voyage. (Strain) Graf, L. A. Star Trek: Firestorm. (Mallett) Hambly, Barbara. Stranger at the Wedding. (Zehner) Hartwell, David G., ed. Christmas Forever. (Strain) Lackey, Mercedes & Larry Dixon. The Black Gryphon. (Strain) Lackey, Mercedes. Sacred Ground. (Zehner) Laidlaw, Marc. Kalifornia. (Burns) Masterton, Graham. The Hymn. (Morgan) McCaffrey, Anne. AU the We]T.S" ofPern. (Strain) McKinney, Jack. Artifact of the System. (Ehrlich) Miller, Faren. The IDusionists. (posner) Modesitt, L. E. Jr. The Magic of Recluse. (Anglum) Modesitt, L. E. Jr. The Towe/3" of the Sunset. (Anglum) Moffett, Judith. 1\vo that Came True. (Marx) Morlan, A. R Dark Journey. (Sanders) Murakami, Haruki. Hard-Boiled Wonderland and the End of the World (Hollinger) O'Keefe, Oaudia, ed. Ghosttide: Tales of Horror, Dark Fantasy, and Suspense. (Sa no ) Peel, John. Star Trek: The Next Generation: Here There Be Dragons. (Mallett) Reichert, Mickey: Z.u<;:ker. The Legend of NightfaD. (Strain) Scieszka, Jon. Knights of the Kitchen Table. (Spivack) Scieszka, Jon. The Not-So-.!oDy Roger. (Spivack) Smith, David Alexander. In the Cube: A Novel of Future Boston. (Strain) Springer, Nancy. Larque on the Wing; (Strain) Stasheff, Christopher. We Open On Venus. (Zehner) Stasheff, Christopher. The Doctor. (Zehner) VoIsky, Paula. The WolfofWinter. (Strain) Wheeler, L. A. The Kingdom of Kanawha: An AUegory for America. (Strain) Wright, Susan. Star Trek: The Next Generation: Sins of Commission. (Mallett) Wu, William F. Isaac AsLinovs Robots in Time: Dictator. (Mallett) Zelazny, Roger. A Night in the Lonesome October. (Mallett) 2


SFRA Review'209, January/February 1994 SFRA INTERNAL AFFAIRS 'PJCESJDENrS MESSAGE This semester I chaired a search for an Americanist with specialization in contemporary or postmodern literature and strength in literary theory. We received more than 300 applications for this job. At least thirty percent (30%) of our applicants actually possessed the basic qualifications we sought (i.e a specialization in American literature written after World War II and some formal coursework in recent theory and criticism). The range of interests of the qualified applicants was wide. and I feel heartening to scholars in fantasy and science fiction studies. At least three of our apph'c8nts had written aU or part of the dissertation on William Gibson. and twenty or so had taught a courses in science ffction. Perhaps as encouraging as the appearance of SF authors. topics. scholarship. and teaching on the various c. v.'s was the unapologetic tone. even confident pride. that the applicants took in presenting their scholarly interest in SF/fantasy. The saw themselves on the cutting edge of contemporary literary studies. and their referees were enthusiastic in endorsing their choices. What all this signifies. I hope. is that the academic "ghettoization" of SF/fantasy may be on its way out in our nation's graduate programs. That the canon-revision now opening the way for hitherto marginalized voices may also allow SF/fantasy literature to be admitted as worthy of study at the highest levels of academe. If my sense is correct. and not just wishful thinking, I would bet that some of the credit for this happy change goes to SFRA members who have been willing to direct dissertations and encourage alternative thinking in graduate students. Perhaps a new age dawns for SF in literary studies. Let us hope so. -David Mead Lf:lTf.X J:,R..O;J(TJIE 'PJCESJDUVT Dear Friends and Colleagues. I thought I would take a few moments at the beginning of the new year to comment on the current state of the organization-which by-and-Iarge is very good. Perhaps the most obvious glitch this year was in the production and distribution of the SFRA Review. The Executive Committee has received a 3


SFRA Revlew 1209, January/February 1994 number of complaints from frustrated members wondering when and if the next issue would be forthcoming. As I write this, issues #206 and #207 are being delivered. Daryl fully expects to be "on schedule" by late Spring. A number off actors have caused the delays in producing the Review. One is simply the of.a new editor, needed.some time get into harness. Another IS mOVIng to a new prmter. Still another IS the multitude of probleIT1S which have occurred in the editor's domestic life and work. All these "rubs" have reminded me very sharply that our organization depends on a small group of volunteer workers-the officers, the Review editor, the Chair of the annual meeting, the various awards committee members. All of these persons have work, families, and so forth to be tended to. In the specific case of the SFRA Review, our organization was very lucky in recent years to have Betsy Harfst (and her husband Ernie) as editor, with Neil Barron managing the nonfiction reviewing and Bob CoUirIS' stable of reviewers supplying lots of reviews. The Harfsts gave enormous amounts of time and love to producing the magazine, and they, working with Hypatia Press, raised the production quality enormously over previous NewslettelS. As a result, I think we've become somewhat spoiled. That is, we have become accustomed to a very highly polished journal appearing in our mailboxes on time, without giVIng much thought to how much work other people have done to make it so. Things have changed. Daryl Mallett has a young family and a new job in a new city-all of which must naturally come before he can turn to editing the Review. Borgo Press is helping us, thank goodness, by providing computer equipment and production facilities at cost, but they are a business with other goals than subsidizing SFRA; we cannot expect them to do our work for us. Neil Barron has given up editing the nonfiction book reviews, and there has been some delay in finding his replacement. Moreover, the timeliness and quantity of reviews, both those sent in by SFRA members and those supplied by Bob Collins and the Annual Review reviewers, has been uncertain. The effect of all this is to remind us that we aU need to help. If we want to maintain our cooperative, we must all pitch in. We can help the SFRA Reviewand editor Daryl by contributing reviews of the books we read without being asked for them, by offering review essays without waiting to be asked, by asking our students to review the SF they read and sending Daryl the best of their work, and so on. If you have a suggestion about how to improve the Review, tell Dal)'l or the Executive Committee what you would like. If it can be done and WIll improve the journal, it will be done. But expect to be asked to help out in return. Daryl would love to have a lead article or feature review in every issue; what can you send him? On a happier note, Betty Hull and Beverly Friend have planned a fine annual conference for us. Sheri S. Tepper and Octavia E. Butler will be our Special Guest Authors. The meeting will be held July 7 -10, 1994 in Arlington Heights, Illinois, at The Woodfield Hilton and Towers. This venue is quite near O'Hare Airport. Please look in the back pages of your most recent Review for details and make your plans to attend now. I hope to see you there in July. Carolyn Wendell, who chairs The Pilgrim Award Committee, and Joan Gordon, who chairs The Pioneer Award Committee, invite your 4


SFRA Review 1209, January/February 1994 nominations for their several awards. If you know a deserving scholar who should be named a Pilgrim, please communicate with Carolyn, David Ketterer, and Brian Attebery. To nominate an article for consideration for The Pioneer Award, please write to Joan, Joe Sanders, and Brooks Landon. Bob Ewald, our Treasurer, wants me to assure you that SFRA members still have a special discounted subscription rate for Foundation. We goofed and left information about his optional benefit off the Dues Renewal Form you were sent recently. To get Foundation, add $17 to your SFRA dues check ($20 if you want the magazine air mailed). I hope that you have all escaped the worst effects of the flu, the recent freeze in the Midwest and East, and the earthquakes in California. Best of everything in the new year. See you in Chicago. lBBIt SFRR COnFEREnCE UPoRTE -Cordially yours, David Mead Don't forget .. J'm working with America West Airlines now. We do fly to Chicago, both O'Hare and Midway Airports. Drop me a card (717 S. Mill Avenue, #87; Tempe, AZ 85281) if you're planning to attend 1994 or 1995 SFRA Conferences. I'm trying to set up some cherry rates with A W A, but I need to know how many folks are going to fly. We can work through your school's travel agency, etc., whatever you want to do. Let me know! nEW mEmBERS Ii RoDRESS CHRnBES New Members: Address/Status Changes: Daryl F. Mallett 717 S. Mill Avenue, #87 Tempe, AZ 85281 -Daryl F. Mallett To all SFRA members who subscribed to Foundation in 1993: Yes, SFRA still has its arrangement with FOlll1dation. And the dues remain the same: $17 for surface mail and $ 20 for airmail. For those of you who have expressed concern on your 1994 renewal forms, we are deeply sorry for having upset you. Inadvertently, our Secretary received a copy of a previous year's renewal form on which the boiler plate was wrong and information about Foundation subscriptions was left off. None of us on the Executive Committee had a chance to catch it until we received our copy of the renewal form. 5


SFRA RerJew'209, January/February 1994 You should not lose any issues of Foundation. If you have not already done so, please send in your renewal if you are still interested in receiving this excellent journal at these low rates. -Apologetically, Bob Ewald Treasurer, SFRA nOTEB FROm THE PILBRlm RWRRo commiTTEE The Pilgrim Award Committee for 1994 asks that nominations and reasons why your candidate should win be in our hands by April I, 1994. Send a copy to each of us: Carolyn Wendell, Chair; Brian Attebery; and David Ketterer. -Carolyn Wendell LETTER TO THE EDITOR My distaste for the brief fiction reviews in the SFRA Review is ideological as well as aesthetic. I believe that science fiction scholars-when acting in their capacity as scholars-should discuss science fiction only in a scholarly manner. I don't think that the kind of capsule review that the Review is running does any credit to the idea of SF scholarship. The content of these reviews seldom offers any critical insight into the books under discussion; and I see no reason to assume that the contributor of such a review knows enough about SF for his opinion to be of any value to me. I would much rather read the reviews in Analog, F&SF. or JASFM. where there is enough consistency in reviewers for me to have some idea of the biases informing the reviews. To put it bluntly: if I didn't know you ... what reason would I have to rely upon your opinion in deciding whether to read, study, or teach a book? Now, I write 200 word reviews myself, for VOiCe of Youth Advocates, but I do so in a specific context: that of helping librarians decide which books would best represent value-for-money in a library collection serving teenagers. I would not undertake to review books at so brief a length without such a clearly defined purpose. I see no reason to publish unscholarly reviews simply to fill pages in the SFRA Review. I would much prefer to see more substantial reviews of scholarly books (including scholarly editions of fiction titles), and reviews of important current fiction written from a critical perspective. As stand right now, I find Locus much more useful as a guide to current publications, and Foundation and The New York Review of Science Fiction as places to read longer reviews of important books. I don't see that the reviews in the SFRA Revieware any better than those in many fanzines-and I don't think that the purpose of SFRA is to publish a fanzine for scholars! 6


SFRA Rev.lew'209, January/February 1994 So, if I have anything to say about a book that doesn't fall within the scope of my VO YA writing, I'll do it for Foundation or NYRSF. And if I want to make a few informal remarks about something I've read lately, I'll do so in LOFGEORNOST. I think that the SFRA RevieWs reviewing policy does a disservice to science fiction scholarship, and I'd rather not be a party to that. -Fred Lerner [Reprinted with permission from the author from an e-mail transmission. D.F.M.] REBPonSE TO FRED LERnER As editor of SFRAR, I never wanted to "step out" and become involved with my personal feelings about what's going on with the organization and the magazine. I thought I'd merely donate my time and effort in editing the magazine, and in some small way contribute to the growth and success of our organization. But constant pressure from the EC to get on the ball, brought about by constant bitching from the membership, combined with Fred Lerner's letter (printed above) finally provoke me into answering some charges and defending not only myself, but the magazine which, if you haven't noticed, is remarkably improved in content over its predecessor, which in its own turn was remarkably improved over its predecessor, and so on. And I have some comments about the organization as a whole. In some ways, I have to agree with what Fred Lerner says about the capsule reviews contained within the pages of SFRAR. They are not consistent; they arrive to me late and then are published even later that they do not reflect "current fiction"; and the content, which is supposed to cover mostly nonfiction, scholarly materials, is top-heavy with fiction reviews ... However, it is not "reviewing policv" which is doing the disservice to SFRARs contents .. .it Fred's comment "I'd rather not be a party to that" (shared by many members who shall remain nameless) which damages the potential power and effectiveness of the SFRAR and SFRA in general. .As editor, I'm limited to publishing 1) what I receive and 2) what I and my fTiends write. The former is very absent. Yet complaints flow in from a mostly apathetic crowd of people who merely bitch about the contents and tardiness of the magazine rather than contributing anything. If you want to write for VOYA, fine. How about sending me those reviews after they appear in VOYA? I don't care if they've been published before ... A lot of our members never see VOYA anyway. I get a handful of reviews every once in a while from an even smaller handful of reviewers. [I'd like to go on record and publicly thank folks like Michael Klossner, B. Diane Miller, Gary Westfahl, Donald M. Hassler, Neil Barron, Mike Levy, the EC,. and others who send me stuff.] And as for the latter ... !). I'm rushing to finish issues around my busy life While volunteering my efforts and time to SFRA with no help from anyone in SFRA as far as production goes; and 2). I'm learning how to write reviews by working with SFRAR. Perhaps I'll hone my craft sufficiently enough to be 7


SFRA Review '209, January/February 1994 able to write for Locus or IASFM or Analog or VOYA someday. In the meantime. I'll dash off capsule reviews to provide filler space around the reviews I receive from a handful of SFRA members who actually give a damn what happens to this magazine and this organization; and those I receive from non-SFRAns such as Paula M. Strain. Oint Zehner. Cornel Robu. Arthur Loy Holcomb. and Furumi Sano (my thanks to them as well). who merely like to read and are providing reviews to help me out. I'd also like to thank Annette Mallett. Oint Zehner. and Kimberly J. Baltzer. who do a lot of the production and mailing work. It takes. what? at most half an hour to sit down and compose a well written. comprehensive review of a book you just finished reading ... I've published for SFRA a directory loaded with fine academicians. scholars. writers. editors. and professors. Each of you has something valuable to contribute to SFRA: Reviews. essays. syllabi. news and information. new or reprinted. at the very least review copies of your latest books... If you want to see the editorial content of SFRAR improve. get off your asses and help out. This is a volunteer organization ... without volunteers. I get no reviews. Without reviews. I do the best I can. 'nuffsaid. -Daryl F. Mallett Gary. I have now been studying science fiction Fandom for over three years as a prelude to writing my sociology master's thesis and I now know more about SF and Fandom than I ever cared to know. (I will be glad when I have my degree and can go back to just enjoying the subculture.) But as Kevin Standlee. World Science Fiction Society liaison to the 1994 World Science Fiction Convention. pointed out over dinner at a Worldcon directorate meeting. I haven't a prayer of scientific objectivity anyway since. by most definitions. I am a Fan. (TruFan is debatable, since that is a matter of perspective.) And that is the crux of the matter I have had to address in my research and I would like to address in your article: who gets to define who is a fan? First. I can assure you that my fellow sociology academics do think I am a little "weird" for studying a reasonably small hobby subculture. ("Yes. Virginia." Fandom Is Just A Good Hobbr.) But then they would also think me "weird" if I had chosen to study mode railroad builders or a bird-watching enthusiast club because sociology tends to have a "problem" orientation. The use of the adjective. weird. has nothing to do with Fandom. Also. I have been known to make the statement that my idea of fun is a little "strange." but that was in reference to my enjoyment of academic pursuits. not Fandom. Further. let me assure you that I have hours and hours of taped interviews with Fans. and nowhere does anyone describe themselves or their friends as "weird." Intellectual. introverted. depressed. overweight. creative. tolerant. backbiting. insecure. poor social skills. isolated in childhood. set apart due to their fiction preference. technology-oriented. literate. book collectors. 8


SFRA Rene ... 209, January/February 1994 and bright, yes; weird, no. One accountant who is part of Chicago Fandom does say that his mother thinks our idea of fun is "weird," but goes on to explain that he has toned down the language she used. And a fellow employee of mine, when informed that my husband and I had just returned from a science fiction convention, did make the comment, "too weird for me." Various surveys that have been done over the years have attempted to record the demographics of Fandom, including the proportion of male-to female science fiction readers. Most surveys are reader surveys for specific magazines and only survey subscription readership. The balance have been done at science fiction conventions and, as I discovered through attempting to identify my population, not everyone at a science fiction convention is a science nction fan. All the surveys are self-selected samples of self-selected groups that are not necessarily representative of Fandom as a Whole. The best estimates are that no more than one-third of science fiction readers are female and no more than one-third of science fiction Fandom is female. Interestingly, Waugh and Schroeder (I978) found that this demographic holds in "Russia also. Therefore, use of the feminine pronoun (for convenience) for your proverbial 'science fiction fan" is inaccurate and I personally find it condescending. As Brian M. Stableford (I987) points out science fiction readers chose their preferred literature because they have a different perspective or paradigm of the world. This different perspective does set one apart from the mainstream (or mundane) and could be described as "weird" by those who do not share that point of view. But, that difference does not necessarily include impracticalities like skipping out on the rent, although Fans and Mundanes alike have both been known to engage in such benavior when circumstances have made it impossible to meet their obligations (Frederik Pohl, 1978). Additionally, both Fandom and the Mundane culture worry about "mixed marriages" (marriage between a Fan and a Mundane) (personal interviews), so it is certainly questionable whether "the average science fiction fan is the type ofperson ... a mother would love to see her son married to." Now, throwing wild parties and behaving in a disruptive manner is a different subject entirely. You cannot possibly have read Robert Bloch's The Eighth Stage of Fandom; or, for that matter, attended a Worldcon; or read any of the news groups on Internet pertaining to Fandom. Yes, Fandom has had to tone down its conventions in recent years and police itself in order to contract with hotels and conventions sites large enough to accommodate the gatherings, but that has been in very recent history. A discussion following a party in which one female fan was "shrill and repetitive" in her announcement that she thought Harlan Ellison was in his article "Xenogenesis," lead the remainder of us to conclude that mcreased and incessant voice volume is often a symptom of insecurity and a plea for attention irregardless of the social group. Perhaps a quick perusal of Harlan's article would lead a mild academic like yourself to conclude that the people in the subculture are "weird" for their tolerance of truly "weird" people. Personally, I don't normally go around calling myself "weird," or skip out on the rent, for that matter, but I do consider myself a Fan, and I do share the differing paradigm of the chronic science fiction reader. Science fiction may not seem "weird" to you and it certainly makes sense to me, but it surely does seem "weird" to a whole lot of people out there. I think your definition of science fiction as a "form of writing which religiously adopts the plots and conventions of other genres ... and transfers those plots and conventions to futuristic or extraterrestrial settings" falls somewhere in the middle of 9


S'RA Reriew'209, JanuUY/Febrauy 1994 Sturgeon's Law. With this definition. all you have really said is that most science fiction attempts to communicate. Russell Letson (1994) writes that "it is the practice of academic literary research and publication carried out by those perceived as non-Fans that provokes hostility." And James Gunn (1974) explains that part of the resentment stems from the steady income associated with tenured positions at universities that creates resentment on the part ofthe professional writers and those trying to become professional writers. Gary. you've done it again. -8. Diane Miller In closing. I'd like to invite anyone from SFRA who will be attending Conadian (1994 World Science Fiction Convention) to attend an SFRA champagne breakfast to be held on Saturday morning. September 3rd. 1994 in my suite at the Place Louif Riel Check the pocket program for the exact time Bloch. Robert. The Eighth Stage of Fandom. edited by Earl Kemp. Chicago:Advent Publishers. 1962. Ellison. Harlan. "Xenogenesis." in Isaac As-linovs Science Fiction Magazine (August 1990): 56-90. Gunn. James. "Science Fiction and the Mainstream." in Science Fiction. Todayand Tomorrow, edited by Reginald Bretnor. New York: Harper & Row. 1974. p. 183-216. Letson. Russell. "As An Academic Sees It." in Science Fiction Fandom. edited by Joe Sanders. Westport. Cf: Greenwood Press. 1994. Pohl. Frederik. The Way the Future Was: A Memoir. New York: Ballantine Books. 1978. Stableford. Brian M. The Sociology of Science Fiction. San Bernardino. CA: The Borgo Press. 1987. Waugh. Charles G. & David J. Schroeder. "Here's Looking at You Kids: A Profile of SF Fans." in Anthro-Tech: A Journal of Speculative Anthropology, Vol. 3:1 (Fall 1978): 12-19. EDITDRIRL Happy New Year SFRANs! First of all. rumors of my demise as SFRAR editor are greatly by some folks. I'm still here and through five weeks of trairung at a new job (America West Airlines in Phoerux. AZ) and six weeks of the flu. I have a P.O. Box address set up now. All mail will now reach me at 717 S. Mill Avenue. #87; Tempe. AZ 85281 USA; no phone number right now. You can also always send mail to me at The Borgo Press; P.O. Box 2845; San Bernardino. CA 92406. Please don't bother Borgo with phone calls. however. Thanx. If you're interested in serving on the SFRA Editorial Advisory Board. please drop me a line. I need reviews. articles. essays. interviews. syllabi. and more!!!! 10


SFRA Reriew.209. January/February 1994 The art? science? crime? of semantics abounds in this issue as B. Diane Miller responds to Gary Westfahl's article on SF fans in SFRAR #207. A new trio of writers provides a close-up of the New Mexican science fiction scene. And in the interest of furthering the seriousness of academe. I include this limerick from B. Diane Miller: There once was a sociologist from the university Whose research thrived on numeric diversity. When confronted with subjectivity. He showed no proclivity. And thoUght qualitative the ultimate adversity. Thanks again. as usual. to my wife. Armette. my. son. Jake. and colleagues like Clirit Zehner. Kimberly J. Baltzer. Arthur Loy Holcomb. Furumi Sano. the folks at Borgo. and the EC. Ad astra. -Daryl F. Mallett 11


SJI'RA Rene .. '209, JllDuary/February 1994 TH& .CI&NC& FICTIIDN FI&.&ARCH A IDCIATIIDN The SFRA is the oldest professional organization for the study of science fiction, fantasy, and horror/Gothic literature and film, and utopian studies. Founded in 1970, the SFRA was organized to improve classroom teaching, encourage and assist scholarship, and evaluate and publicize new books and magazines dealing with fantastic literature and film. Among the membership are people from many countries-authors, editors, publishers, librarians, students, teachers, and other interested readers. Academic affiliation is not a requirement for membership. SFRA BENEFITS INCLUDE: Extrapolation. Quarterly magazine; the oldest journal in the field, with critical, historical, and bibliographical articles, book reviews, letters, occasional special topic issues, annual index. Science-Fiction Studies. Trimesterly magazine; includes critical, historical, and bibliographical articles, review articles, reviews, notes, letters, international coverage with abstracts in French and English, annual index. SFRA Review. Bimonthly magazine; an organ of the SFRA, this magazine includes extensive book reviews of both nonfiction and fiction, review articles, of new and forthcoming books, letters, SFRA internal affairs, calls for papers, works in progress, media reviews, etc., annual index. SFRA Directory. Annual directory; lists members' names and addresses, phone numbers, special interests. Foundation. (For an added fee). Trimesterly magazine. Discount on subscription price; includes critical, historical, and bibliographical articles, reviews, letters. AS A MEMBER YOU ARE ALSO INVITED TO: Attend our annual meetings, held in a different location each year. Members and guests-many of them professional writers-present papers, share information, and discuss common interests, all in a relaxed, informal environment. Much of the significant scholarly literature, available at discounted prices, is displayed. The Pilgrim and Pioneer Awards for distinguished contributions to SF or fantasy scholarship are presented at a dinner meeting. Participate in the Association's activities. Vote in elections, serve on committees, hold office, and contribute reviews to SFRA Review. Join the SFRA section on GEnie, where the SFRT (SF Round Table) has a private category where SFRA category where SFRA members meet in "cyberspace" to conduct business, exchange information, or enjoy real time discussions. Contribute to the "Support a Scholar" program. SFRA members help needy young scholars here and overseas continue their study of SF/F. [Annual membership dues cover only the actual costs of providing benefits to members, and reflect a modest savings over subscriptions to the publications listed above. Your dues may be a tax deductible expense.] 12


SFRA RevleIFt209, January/February 1994 IiIENERAL MISCELLANY FDRTHCDmIDllDDKI Date of publication as shown. (P)=publication confirmed. (R)=reprint. All unconfirmed dates are tentative. delays are common. Most original books have been or will be reviewed in these pages. These books listed here have never been reviewed in SFRAR .. REFEREnCE Bova. Ben. The Craft of Wntmg Science Fiction That Sells. Writers Digest Books. 1994. Bunson. Matthew. The Vampire Encyclopedia. Crown. Jun 1993 (P). Chalker. Jack L. & Mark Owing;. The Science-Fantasy Publishers: Supplement One, July 1991-June 1992. Mirage Pro (P). Avail. to those who bought the base vol. Dozois. Gardner. et al, eds. Writing Science Fiction and Fantasy: Twenty Dynamic &says by Today's Top Professionals. St. Martin's. Mar 1993. Flaum. Eric & David Pandy. The Encyclopedia of Mythology. Gee. Robin. 1993 Novel &' Short Story Writers Market. Writer's Digest Books. Feb 1993. Hall. Hal. W. Science Fiction and Fantasy Reference Index, 1985-1991: An International Author and Subject Index to History and CrIticism. Libraries Unlimited. 1993 (P). Hall. Hal W. Science Fiction and Fantasy Research Index, VoL 10. SFBRI & Borgo Pr Apr 1994. Harbottle, Philip & Stephen Holland. British Science Fiction Paperbacks, 1949-19S6: An Annotated BIhhography. Borgo Pr Apr 1994. Jackson. Guide M. Encyclopedia of Traditional Epics. ABC-CLIO. Jun 1994. Jones. Stephen. ed. The Mammoth Book of Zombies. Carroll & Graf. 1993. [Reviewed by Ron and Jan Wolfe in The Arkansas Democrat-Gazette. For a copy. contact me. -D.F.M.] McOoud. Scott. Understandmg Comics. Kitchen Sink Pr 1993. [Reviewed by Ron and Jan Wolfe in The Arkansas Democrat-Gazette. For a copy. contact me. -D.F.M.] Miles. Robert. Gothic WntIiJg. 1764-18S0: A Geneology. Routledge. Jun 1993. Ochoa. George & Jeff Osier. The Wnters Gwde to Creating a Science FiCtIon Umverse. Writer's Digest. Mar 1993. Ramsland. Katherine. The Vampire Companion: The Official Gwde to Anne Rices The Vampire Chronicles. Ballantine. Oct 1993. Reid. Jane Davidson & Chris Rohmann. The Oxford Gwde to Oassical Mythology m the Arts". 1300-1990s. Oxford Univ. Pr 1993. 2 v. (P). 13


SFRA Review 1209, January/February 1994 [Reviewed by Jack Perry Brown in library Journal. September 1, 1993. D.F.M.J Shippey, Christie & Tom, eds. The Good Science Fiction Guide. Blackwell, Mar 1993. Slavicsek, William. A Gw'de to the Star WaJ:S' UmveJ:S'e, 2nd Ed .. Ballantine!Del Rey, Mar 1994. . Toufic, Jalal. Vampires: A Post-Modern VLS'Jon of the Undead m Film and literature. Station Hill Press, Mar 1993. HIBTDRY Ii CRITICI8m Andriano, Joseph. Our Ladies of Darkness: Female Demonology in Male Gothic Fiction. Penn St. Univ. Pr., 1993 (P). Anon. The Enchanted World: Ghosts. Anon. The Enchanted World: The Lore of Love. Anon. The Enchanted World: Magical Justice. Anon. World Mythology. Henry Holt & Co., 1993 (P). [Reviewed in American Libraries, Dec 1993. For a copy, contact me. -D.F.M.J Asher, R E. Nationalt;:hs in Renaissance France: Francus, Samothes, and the Drw'ds. Edinbur Univ. Pr., 1993. Asimov, Isaac & Freder Pohl. Our Angry Earth. Tor, Apr 1993 (R). Barr, Marleen S. Femini5t Fabulation: Space/Postmodern Fiction. Univ. of Iowa Pr., Nov 1992. Barr, Marleen S. Lost in Space: Probing Femini5t Science Fiction and Beyond Univ. of North Carolina Pr., Nov 1993. Bloch, Robert. The Eighth State of Fandom. Wilds ide Pr. (P) (R of 1962 ed. w/new introduction and afterword). Bradbury, Ray. Zen in the Art of Writing, Third Edition. Capra Pr., Sep 1993 (P). Bukatman, Scott. Terminal Identity: The Virtual Subject in Postmodern Science Fiction. Duke Univ. Pr., Jun 1993. Calderwood, James L. A Midsummer Night's Dream. Twayne, 1993 (P). Canto. Christopher & Odile Faliu. The History of the Future: Images of the 21st Century. Ronin Publishing Inc 1993. Carpenter, Thomas H. & Christopher A. Faraone, eds. Masks of Dionysus. Cornell Univ. Pr., 1993 (P). Cassiday, Bruce. ed. Modern Mystery. Fantasy, and Science Fiction WrIteJ:S'. Continuum. Dec 1993. Clareson. Thomas D. UndeJ:S'tanding Contemporary American Science Fiction: The Formative Period, 1926-1970. Univ. of S. Carolina Pr., Dec 1992. Clarke. Arthur C. By Space Possessed: Essays on the Exploration of Space. Gollancz. Ju11993. Clarke. Arthur C. The Colours of/nfinity. Gollancz, Jun 1994. Clarke. Arthur C. How the World Was One: The Turbulent History of Global Communicatioru. Gollancz, Jul 1993 (R). Coren. Michael. The Invisible Man: The Life and Liberties of H. G. Welk. Macmillan Atheneum. Aug 1993 (P). [Reviewed by Tony Moser in The Arkaruas Democrat-Gazette. For a copy, contact me. -D.F.M.J Costello. Matthew J. How to WrIte Science Fiction. Paragon House (P). Cott. Jonathan. Isis and Osiris: A S,OOO-Year-Old Love Story. Doubledar' Feb 1994. [Reviewed by Alice Joyce in Booklist, Jan 15, 1994. -D.F.M. 14


SFRA ReneIl"1209, JanullJ'7/FebrullJ'7 1994 Cranch. Christopher Pearse. Three Children's Novels by Christopher Pearse Cranch, edited by Greta D. Little & Joel Myerson. Univ. of Georgia Pr .. 1993 Douglas. Adam. The Beast Within: A History of the Werewolf.' Chapmans l1l<.. Oct 1992. Fausett. David John. Writing the New World: Imaginary Voyages' and Utopias of the Great Southern Land Syracuse Univ. Pr Feb 1994. Goulart. Ron. The Comic Book Reader's Companion. HarperCollins. Apr 1993. Guthke. Karl S. The Last Frontier: Imagining Othe Worlds, /i'om the Coperm'can Revolution to Modern Science Fiction. Cornell Univ. Pr Jun 1993 (R). Hall. Hal W. & Daryl F. Mallett. eds. Pilgrims and Pioneers. SFRA Press. 1994. Hanson. Bruce K. The Peter Pan Chrom'cles': The Nearly 100Year History of the "Boy Mlo Wouldn't Grow Carol PublishinglBirch Lane. May 1993. Harbottle. Philip & Stephen Holland. Vultures' of the Void: A History of British Science Fiction Publishing, 1946-19S6. Borgo Pr Dec 1992 (P). Harger-Grinling. Virginia. ed. Robbe-Grillet and the Fantastic: A CoUection of Essays. Greenwood Pr Feb 1994. Hasse. Donald. The Reception of Grimm's Fairy Tales'; Res'ponses', Reactions, Revisions. Wayne State Univ. Pr 1993. Hawk. Pat. Hawk's Author's Pseudonyms for Book CoUectors. Pat Hawk. May 1993. Heim. Michael. The Metaphysics of Virtual Reahty. Oxford Univ. Pr .. Jun 1993. Hopkins. Andrea. Chrom'cles' of King Arthur. Viking. Jan 1994. James. Edward. Science Fiction in the Twentieth Century. Oxford Univ. Pr .. Spr 1994. Kadrey. Richard. The Covert Culture Sourcebook. St. Martin's Pr., Sep 1993. Kumar. Krishnan & Stephen Barr. eds. Utopias and the Milleminn. Univ. of Washinston Pr Jun 1993. Lacy. Noms J .. ed. Lancelot-Grail: The Old French Arthurian Vulgate and PostVulgate in Translation, Volume II. tr by Samuel N. Rosenberg & Carleton W. Carroll. Garland Pr 1993 (P). Lafferty. R A Adventures' in Unhistory. Owlswick Pr., Feb 1993. Le Guin. Ursula K. Language of the M'ght. HarperPerennial. Jun 1993 (R). Mandelbaum. Paul. ed. First Words: Earh'est WrItingY of 42 FaVOrIte AmerI'canAuthors. AigonquinlWorkman. Oct 1993. Manlove. Colin. Christian Fantasy /i'om 1200 to the Pres'ent. Univ. of Notre Dame Pr 1992 (P). Matthews. John. ed. An Arthurian Reader: Selections /i'om Arthurian Legend, Scholarship, and Story. Aquarian Pr. (P). McGlathery. James M. Grimms' Fairy Tales': A History of CrIticism on a Popular Dassic. Camden House, 1993? McKnight. Stephen A, ed. Science, Pseudo-Science, and Utopianism in Early Modern ThouFdJt. Univ. of Missouri Pr. (P). McRae, Murdo William, ed. The LIterature of Science: Perspectives' on Popular Scientific WrIting: Univ. of Georgia Pr., 1993. Mogen, David. Wilderness VisIOns: The Wes'tern Theme in Science FictIon literature. Second EditJon. Borgo Pr Feb 1994. Nahin. Paul J. Time Machines': Time Travel in Physics, Metaphysics, and Science FiCtIOn. American Institute of Physics, 1993 (P). 15


BFRA Renew'209, January/February 1994 Richards, Thomas. The Impenal Archive: Knowledge and the Fantasy of Empire. Verso, 1994. Roberts, Robin. A New Species: Gender & Science in Science Fiction. Univ. ofillinois Pr., Jul1993 (P). Roberts, Sheila, ed. Still the Frame Holds: Essays on Women Poets and Writer.s'. Borgo Pr., May 1993 (P). Rohrich, Lutz. Folktales and Reality. tr. by Peter TokofSky. Indiana Univ. Pr. (P). Ruddick, Nicholas. Ultimate Island: On the Nature of Science Fiction. Greenwood Pr., Jan 1993. Scott, Walter. The Black Dwarf, edited by P. D. Garside. Columbia Univ. Pr., 1993. Segal, Howard P. Future Imperfect: The Mixed of Technology in Amenca. Univ. of Massachusetts Pr., Jan 1994. [Reviewed by Mary Carroll in BooJdist, December 15, 1993. -D.F.M.l Sharman, Helen & Christopher Priest. Seize the Star.s'. Gollancz, Oct 1993. Shaw, Bob. How to Write Science Fiction. Allison & Busby UK, Jan 1993. SkaJ, David J. The Monster Show: A Cultural History of Horror. Norton, Mar 1993 (P). Slusser, E. & Eric S. Rabkin, eds. Fights of Fancy!' Armed ConDict in Science Fiction and Fantasy. Georgia Univ. Pr., 1993 (P). Sterling, Bruce. The Hacker Crackdown: Law and Disorder on the EiectrJc Frontier. Bantam, Dec 1993 (R). Stern, Roger. The Death and life of Superman. Bantam Books, 1993 (P). [Reviewed by Ron and Jan Wolfe in The Arkansas Democrat-Gazerre. For a copy, contact me. -D.F.M.l Sullivan, C. W. III, ed. Science Fiction for Young Reader.s'. Greenwood Pr., Mar 1993. Tatar, Maria. Off Mth Their Heads!: Fairy Tales and the Culture of Childhood Princeton Univ. Pr., Dec 1993. Van Hise, James. Trek: The Next Generation, Second Edition. Pioneer Books, Feb 1993. Verne, Jules. 20,000 Leagues Under the Sea, translated by Walter James Miller & Fredrick Paul Walter. Naval Institute Pr., Sep 1993. von Franz, Marie-Louise. The Feminine in Fairy Tales, Rev. Ed. Shambala, Feb 1993. Weis, Margaret & Tracy Hickman. DragonLance: Leaves !Tom rhe Inn of the Last Home. TSR Inc., Nov 1993 (R). Wells, H. G. The War of the Worlds: An Annotated and Critical Edition. Indiana Univ. Pr., Aug 1993 (R). Willard, Nancy. TeUing Time: Angels, Ancestor.s' and Stones. Harcourt Brace, Oct 1993. Wolf, Leonard. The Essential Dracula. Penguin/Plume, Feb 1993. Wolf, Milton T. & Daryl F. Mallett, eds. Imaginative Futures: The Proceedings of rhe 1993 Science Fierion Research Association Conference. SFRA Press, 1994. Wolstenholme, Susan. Gothic (Re)Visions: Writing Women as Reader.s'. SUNY Pr., Dec 1992. Zaki, Hoda M. Phoenix Renewed: The Survival and Mutation of Utopian Thought in North American Science Fiction, 1965-1982, Revised Edltion. Borgo Pr., 1993 (P). Zipes, Jack. The Trials and Tnbulations of Lirrle Red Riding Hood, Second Edirion. Routledge, Sep 1993. 16


SFRA Re1"le.'209, January/February 1994 RUTHOR STUOIER [Adams. D.] Gaiman. Neil. Don't Pamc: Douglas Adams &' The Hitch Hiker's Guide to the Galaxy. Titan. Oct 1993. [Andrews. V.] Spignesl. Stephen J. The V. C Andrews Trivia and Quiz Book. Penguin/Signet. Mar 1994. [Asimov. I.] Asimov. Isaac. J, AsJinov. Doubleday. Apr 1994. [Atwood. M.] Wilson. Sharon Rose. Margaret Atwoods FairyTale Sexual Pohrics. Univ. of Mississippi Pr Dec 1993. [Barker. C.] Barker. Clive. Pandemomiun II: The Worlds of Clive Barker. Eclipse Books. Win 1993. [Barker. C.] Jones. Stephen. ed. Clive Barkers Shadows in Eden: The Books, Films, and Art of Clive Barker. Underwood-Miller. Sep 1993 (R). [Bloch. R] Bloch. Robert. Once Around the Bloch. Tor. Jul 1993. [Brown. C.] Christophersen. Bill. The Apparition in the Glass: Charles Brockden Browns American GothIc. Univ. of Georgia Pr .. Jan 1994. [Burroughs. W.] Harris. Oliver. ed. Letters of William S. Burroughs, 1945-1959. Viking. Jun 1993. [Cabell. J.] MacDonald. Edgar. James Branch CabeD and Richmond-inVirginia. Univ. of Mississippi Pr Apr 1993 (P). [Campbell. J.] Anon. The John W. CampbeD Letters, Volume 2: AsJinov and van Vogt. AC Projects (5106 Old Harding Road; Franklin. TN 37064; $45+$2p&h. [Chater. E.] Mallett. Daryl F. & Annette Y. Mallett. The Work of ElizBbeth Chater: An Annotated BIbhography and Guide. Borgo Pr .. Mar 1994. [Clarke. A.] McAleer. Neil. Arthur C Clarke: The Authorized BIography. Contemporary. Aug 1993 (R); Gollancz. Jul1993 (R). [Oarke. A.] Welfare. Simon & John Fairley. Arthur C Clarkes Mystenes: From Atlantis to Zombies. HarperCollins UK. Nov 1993. [Collins. W.] Peters. Catherine. The King oflnventors: A Life of WilkIe CoUins. Princeton Univ. Pr .. Nov 1993. [Dick. P.] The Selected Letters of Philip K DICk, 1972-1973. UnderwoodMiller. Jun 1993. [Dick. P.] The Selected Letters of Philip K DICk, 1975-1976. Underwood Miller. May 1993. (P) [Dick, P.] The Selected Letters of Phih'p K DIck, 1977-1979. Underwood Miller. Spr 1993. [Dick. P.] Sutin, Lawrence. Divine InvaSIOns: A Life of Philip K DICk. HarperCollins UK. Feb 1994. [Donaldson. S.] Barth. Melissa. Stephen Donaldson. Borgo Pr., 1994. [Effinger. G.] Indick. Ben P. Ceo. Alec Ellinger: From Entropy to Budayeen. Borgo Pr Jul1993 (P). [Evans. M.] Hassler. Sue Strong & Donald M. Hassler. eds. Arthur Machen and Montgomery Evans: Letters of a Literary Fnendship, 1923-1947. Kent State Univ. Pr Feb 1994. [Haggard. H.] Pocock. Tom. RIder Haggard and the Lost Empire. Weidenfeld & Nicolson. distributed by Trafalgar Square. Jan 1994. [Reviewed by John Mort in BookJisr, Jan I, 1994. -D.F.M.] [Henson. J.] Finch. Christopher. JJin Henson: The Works. Random House, 1993. [Reviewed by Gordon Flagg in BookJist. Jan 15. 1994. -D.F.M.] [Herbert. J.] Herbert. James. James Herberts Dark Places. HarperCollins UK. Nov 1993. [Jackson. S.] Hall. Joan Wylie. Shirley Jackson: A Study of the Short FictIon. Twayne. 1993 (P). 17


STRA.Revlew'209, January/February 1994 [King. S.] Beahm, George. The Stf!phen King Story. V! UK, Mar 1 ?94. [King. S.] Herron, Don, ed. ReJg11 of Fear: The FictIon and the Films of StephenKing. Underwood-Miller, Spr 1993. [King. S.] Magistrale, Anthony, ed. The Casebook on The Stand. Starmont House/Borgo Pr., Sep 1992 (P). S.] Murphy, Tim. In the Darkest Night: The Student's Guide to Stephen King. Borgo Pr., 1994. [ICing, S.] Underwood, Tim & Chuck Miller. Fear Itself: The Early Worl's of StephenKing. Underwood-Miller, Nov 1993 (R). [King, S.] Underwood, Tim & Chuck Miller. Feast of Fear: ConversatIons U7th Stephen King. Warner, Oct 1993 (R). [Koontz, D.J Greenberg, Martin H., Ed Gorman & Bill Munster. The Dean Koontz Compamon. Berkley, Mar 1994: Headline UK, Jan 1994. [Kurtz, K.] Oarke, Boden. The Work of Katherine Kurtz: An Annotated Bibhographyand Guide. Borgo Pr., Feb 1993 (P). [Le Guin, U.J Cummins, Elizabeth. Understanding Ursula K. Le Guin. Univ. of S. Carolina Pr., Dec 1992. [Lewis, C,] Hooper, Walter & W. H. Lewis, eels. Lerrers of C S. Lewis. HarvestlHarcourt, Nov 1993. [MacDonald, G.] Sadler, Glenn Edward, ed. An Expression of Character: The Lerrers of George MacDonald Eerdmans, Jan 1994 (P). [Machen, A] Hassler, Sue Strong & Donald M. Hassler, eels. Arthur Machen and MontgomeryEvans: Lerrers ofa literary Friendship, 1923-1947. Kent State Univ. Pr., Feb 1994. [McCaffrey, A] Nye, Jody Lynn & Anne McCaffrey. The Dragonlover's Guide to Pern. Ballantine/Del Rey (R. P). [Moorcock, M.] Davey, John. Michael Moorcock: A Reader's Gwae. Author (P). 36 p. booklet. [Niven, L.] Stein, Kevin. The Gwae to Larry M'ven's RingworId Baen, Feb 1994. [Orwell, G.] Gottlieb, Erika. The OrweU Conundrwn: A Cry of Despair or FaIth in the Spirit of Man? Carleton Univ. Pr., 1992 (P). [Orwell, G.] Ingle, Stephen. George OrweU: A Poh'tical Life. Manchester, 1993 (P). [Ovid] Mandelbaum, Allen. The Metamorphoses of Ovid Harcourt, Nov 1993 (P). [Poe, E.] Anderson, Madelyn Klein. Edgar AUan Poe: A Mystery. Franklin Watts, 1993 (P). [Pynchon, T.] Berressem, Hanjo. Pynchon's PoetICs: Interfacing Theory and Text. Univ. ofIllinois Pr., Jan 1993. [Radcliffe, A] Rogers, Deborah D., ed. The Critical Res[XJnse to Ann Radcliffe. Greenwood Pr., Dec 1993. [Roddenberry, G.] Engel, Joel. Gene Roddenberry: The Myth and the Man Behind Star Trek. Hyperion, Apr 1994. [Serling, R.] Sander, Gordon F. Serling: The Rise and Twilight of TelevisIon's Last Angry Man. Penguin/Plume, Jan 1994. [Shelley, M.] Blumberg, Jane. Mary SheUey's Early Novels: 'This Child of ImaginatIon and AWery', Univ. ofIowa Pr., Apr 1993. [Stoker, 8.] Senf, Carof A, ed. The Critical Res[XJnse to Bram Stoker. Greenwood Pr., Dec 1993. [Strugatsky Bros.] Howell, Yvonne. AfXJC8Jyptic Realism: The Science FictIon of Arkady and Boris Strugatsky. Peter Lang, Jul 1993. 18


SFRA Revle.'209, January/February 1994 [Vance, J.] Hewett, Jerry & Daryl F. Mallett. The Work of Jack Vance: An Annotated BIbliography and Gwde. Borgo PrJUnderwood-Miller, Mar 1994. [Vance, J.] Temianka, Dan. The Jack Vance Lexicon: From Ahulph to Zipangote. Underwood-Miller (P). [Verne, J.] Teeters, Peggy. Jules Verne: The Man Mlo Invented Tomorrow. Walker, Jan 1993. [Wells, H.] Coren, Michael. The InvisIble Man: The Life and Liberties of H. G. Welk. Athenuem, Aug 1993. [Wells, H.] Hughes, David Y. & Harry M. Geduld, eds. An Annotated and Critical EditJon of The War of the Worlds. Indiana Univ. Pr., May 1993 (postponed from Fall992). [We1Is, H.] Phi1mus, Robert M., introducer and annotater. The Island of Doctor Moreau, by H. G. Welk. Univ. of Georgia Pr., Feb 1993. [Wilde, 0.] Willoughby, Guy. Art and The AesthetJCs of Oscar Wffde. Farleigh Dickinson, 1993 (P). [Zelazny, R] lindskold, Jane M. Roger Zelazny. Macmillan!fwayne, Nov 93. FILID Ii TV Ii THEaTRe Archer, Steve. Willis O'Bnen: Special Effects Gerulli. McFarland, Sum 1993. Carrou, Bob. Monsters and Aliens fi'om George Lucas. Abrams, Oct 1993. Champlin, Charles. George Lucas: The CreatJve Impulse, an IUustrated First Twenty Years. Abrams (P). Copjec, Joan. Shades ofNoir. Verso, distributed by Routledge, 1994. Cornell, Paul, Keith Topping & Martin Day. The Avengers Program Guide. Virgin, Jan 1994. Creed, Barbara. The Monstrous-Feminine: Film, Feminism, Routledge, 1994. Drake, Chris. The Making of UFO and Space 1999. Boxtree, Apr 1994. Ellison, Harlan. Harlan Ellison's Watching. Underwood-Miller, (P) (R of 1989 ed.). Erlich, Robert. Oockworks: A Multimedia BlbliofJl'aphy of Works Useful for the Study of the Human/Machine Interface U1 SF. Greenwood Pr., Jul 1993 (P). Everman, Welch D. Cult Horror Films: Offbeat 1hrillers fi'om Attack of the Fifty Foot Woman to Zombies of Nora Tau. Carol Pub. Group, 1993. Farrand, Phil. The Mtpicker's Guide for Next GeneratJon Trekkers. Dell, Nov 1993; SFBC Jan 1994; Titan Nov 1993. Finch, Christopher. Jim Henson: The Works. Random House, 1993 (P). [Reviewed by Ron & Jan Wolfe in The Arkansas Democrat-Gazette. For a copy, contact me. -D.F.M.] Flynn, John L. The Films of Arnold Schwarzenegger. Carol Pub. Group, 1993. Fury, David. Kinf!,Y of the Jungle: An IUustrated Reference to Tarzan on Screen and TelevisIOn. McFarland, Sum 1993. Gross, Ed & Mark Altman. Star Trek: Captain's Log Supplement. Boxtree, Feb 1994. Gross, Ed & Mark Altman. Star Trek: Deep Space Nine Logbook Boxtree, Mar 1994. Hardy, Phil, ed. Aurum Film Encyclopedia Vol 3: Horror. Aurum Pr., Oct 1993. 19


SFRA Renew '209, January/February 1994 Hardy, Phil, ed. The Overlook Film Encyclopedia: Science Fiction. Overlook Pr., Jan 1994. House of Dracula. MagicImage Filmbooks, (P). Howe, David J. Doctor Who: Timetrame: The IUustrated Doctor Who Books UK, Oct 1993. Howe, David J., Mark Stammers, & Stephen James Walker. The Doctor Who Handbook: The Fourth Doctor. Doctor Who Books UK, Dec 1992. Howe, David J., Mark Stammers, & Stephen James Walker. Doctor Who, The Handbook: The Sixth Doctor. Doctor Who Books UK, Nov 1993. Jameson, Richard T., ed. They Went Thataway: Redefining Film Genres. Mercury, distributed by Consortium, Feb 1994. [Reviewed by Benjamin Segedin in Booldist, Jan IS, 1994. -D.F.M.J Kalmus, Herbert T. & Eleanore King Kalmus. Mr. Technicolor: An Autobiography. MagicImage Filmbooks, (P). Kinnard, Roy, ed. The Lost World of WiUis O'Bn"en: The Original Shooting Script of the 1925 Landmark Special Effects Dinosaur Film. McFarland, Sum 1993. Klein, Michael. Seven Minutes: The Life and Death of the Amen"can Animated Cartoon. Routledge, Chapmann & Hall, Dec 1993. Lentz, Thomas M. III. Science Fiction, Horror and Fantasy Film and Television Credits, Supplement 2: 1993. McFarland, 1994. Lichtenberg, Jacqueline, Sondra Marshak & Joan Winston. Star Trek Lives! Titan, Oct 1993 (R). Lopez, Daniel. Films by Genre: 775 Categories, Styles, Trends, and Movements Defined with a Filmography for Each. McFarland, Sum 1993. Mank, Gregory William. HoUywood Cauldron: Thirteen Horror Films trom the Genre's Golden ke. McFarland, Sum 1993. Maxwell, Thomas. 71ie Trek Universal Index. Boxtree, Apr 1994. McOl.rty, John. Psycho: Ninety Years of Mad Movies, Mamacs, and Murderous Deeds. Carol Publishing Group, May 1993. Nance, Scott. The Spirit of Trek Pioneer, Nov 1993. Nance, Scott. Trek: Deep Space Nine. Pioneer Books, Feb 1993. Nemecek, Larry. The Star Trek: The Next Generation Compamon, Revised EditIon. Pocket, Dec 1993. Okuda, Michael. The Star Trek EncyclopedIa. Pocket, Apr 1994; Simon & Schuster UK, Apr 1994. Parish, James Robert. Ghosts and Angels in HoUywood Films: Plots, Oitiques, Casts and Credits for 262 Theatrical and Made-forTelevisIon Releases. McFarland, 1994. Peel, John. The OffiCIal Thunderbirds, Stingray, and Captain Scarlet Programme Gwde. Virgin, Dec 1993. Quarles, Mike. Down and Dirty: HoUywood's ExploitatIon Filmmakers and Their Movies. McFarland, Sum 1993. Salwolke, Scott. M'cholas Roeg Film by Film. McFarland, Sum 1993. Schelde, Per. AndrOIds, HumanoIds, and Other Science FiCtIon Momters: Science and Soul in Science FiCtIon Films. New York Univ. Pr., 1993 (P). [Reviewed by Ron & Jan Wolfe in The Arkamas Democrat-Gazette. For a copy, contact me. -D.F.M.J Schoell, William & James Spencer. The Mff/ltmare Never Ends: The OfficIal of Freddy Krueger and the Nightmare on Elm Street Films. Citadel Pr. (P). Sevastkis, Michael. Songs of Love &' Death: The Oassical American Horror Film of the 1930s. Greenwood, Mar 1993 (P). Siegel, Don. A Siegel Film: An AutobIography. Faber & Faber, Nov 1993. 20


SJI'RA Renew'209, January/February 1994 Skal, David J. The Monster Show: A Cultural History of Horror. Norton, May 1993. Slavicsek, William. A Gwde to the Star WaT.Y UniveT.Ye, Second Edition. Ballantine/Del Rey, Mar 1994. Story, David. Amenea on the Rerun: 1V Shows That Never Die. Carol Pub. Group, 1993. Thompson, Frank. Tim Burton's Nightmare Before Christmas: The Film, the Art; the Vision. Hyperion. Oct 1993 (P). Van Hise, James. The Dassic Trek Crew Book. Pioneer, Oct 1993. Van Hise, James. The Next Generation Tnbute Book. Pioneer, Sep 1993. Van Hise, James. Sci Fi 1V !Tom Twilight Zone to Deep Space Nine. Pioneer, Jun 1993. Van Hise, James. Trek: The Next Generation Crew Book. Pioneer, May 1993. Van Hise, James. Trek VeT.Yus Next Generation. Pioneer, Nov 1993. Walker, Stephen James & Mark Stammers. Doctor Who: Decalogue. Doctor Who Books UK, Mar 1994. Westmore, Michael & Joe Nazzaro. Star Trek: The Next Generation: Make Up Effects ManuaL Titan, Nov 1993. Willard, Nancy. The Sorcerer's Apprentice. ScholastidBlue Sky Pr., Oct 1993. Willingham, Ralph. Science Fiction and the Theatre. Greenwood Pr., Dec 1993 (P). Wright, Bruce. Yesterdays Tomorrows: The Golden Age of Science Fiction Movie PosteT.Y. Taylor Publishing. Apr 1993. ILLUBTRRTlOn/COmICB Addams, Charles. The World of Charles Addams. Random House/Knopf, Dec 1993. Alighieri, Dante. Paradiso. Random House, Nov 1993. Anderson, Wayne. ThrO/JIVJ the lookinG Glass. Paper Tiger/Avery, Apr 1993. Andersson, Max & Rickara Gramfors. Pixy. Fantagraphics, 1993. [Reviewed by Gordon Flagg in Booldist. Jan 15, 1994. -D.F.M.] Anon. The Pop-Up Mickey Mouse. Anon. The Pop-Up Minnie Mouse. Anon. Wild Cartoon Kingdom No. 2. Bantock, Nick. TheEgyptianJukebox. Viking. Sep 1993. Bantock, Nick. The Golden Mean: The Extraordinary Correspondence Continues. Chronicle Books, Oct 1993. Barker, Clive. Dive Barker IUustrator II: The Art of Dive Barker. Eclipse Books, Win 1993. Barks, Carl. Carl Barks' library Album #23. WALT DISNEY'S CoMICS & STORIES. Barks, Carl. Carl Barks' libraryofGyro Gearloose Stones #6. Bok, Hannes. A Hannes Bok Treasury. Underwood-Miller, May 1993. Borst, Ronald V., Keith Burns & Leith Adams, eds. Graven Images: The Best of Horror, Fantasy, and Science Fiction Film Art. Grove Pr., Oct 1993. Bradbury, Ray. Ray Bradbury Chromc/es, VoL S. Bull, Emma. The Princess and the Lord of Ni!QJt. Harcourt Brace, Spr 1994. Calle, Paul. Paul CaUe: An Artist's Journey. Mill Pond Pr., Oct 1993. Ciruelo. The Book of the Dragon. SFBC, Aug 1993. Day, David & Alan Lee. Tollden's World: of Mlddle-Earth. HarperCollins, 1992. 21


SFRA Review 1209, January/February 1994 De Berardinis, Olivia. Let Them Eat Cheesecake: The Art of Oh"via. Ozone Productions, Sep 1993. Delamare, David. Mermaids {I Magic Shows: The Art of David Delamare. Paper Tiger, Feb 1994. Edwards, Malcolm & Robert Holdstock. Realms of Fantasy: An IUustrated Exploration of the Most Famous Worlds of Fantasy Fiction. Collier Macmillan, Mar 1993 (R of 1983 ed.). Fabian, Stephen E. Ladies {I Legends. Underwood-Miller, Aug 1993. Finch, Christopher. Jim HellSon: The WorkS". Random House, Nov 1993. Flynn, Danny. The Art of Danny Flynn. Paper Tiger, May 1994. Foster, Hal. Prince VahantlManuscript Press, VoL 1 (1937)-2 (1938). Gerani, Gary. New Vis-lOllS: The Art of Star WaI.S Galaxy. Gurney, James. The Dinotopla Pop-Up BookS". Turner Publishing, Sep 1993. Kerrod, Robin. NASA: Vis-lOllS of Space. Ketcham, Hank. The Merchant of Dennis' the Menace: Hank Ketcham Kirby, Josh. The Josh Kirby Dis-cworld Portfoho. Paper Tiger, Nov 1993. Kirschner, David & Ernie Contreras. The Pagemaster. Turner Publishing, Nov 1993. Lee, Stan, Jack Kirby & Dick Ayers. Avenger.s MasterworkS", Volume 1. Lohan, Frank J. The Drawing Handbook. Maitz, Don. Dreamquests: The Art of Don Maitz. Underwood-Miller, Nov 1993; SFBC, Apr 1994. Malloy, Alex G. Comic Book Artis-ts. Chilton Book Co., Nov 1993. Matthews, Rodney. The Second Rodney Matthews Portfoho. Paper Tiger, Nov 1993. McOoud, Scott. Under.standing Comics: The Invisible Art. Kitchen Sink Pr lfundra Publishing, 1993. [Reviewed by Philip Martin in The ArkallSas Democrat-Gazette, Feb II, 1994. -D.F.M.] Derek. 21st Century Vis-lOllS. Paper Tiger, Nov 1993. Moench, Doug, Kelley Jones & John Beatty. Batman: Dark Joker-The Wild Morrissey, Dean. The Ship of Dreams. Mill Pond Pr., Spr 1994. Potter, J. K. HorripilatlollS. Paper Tiger, Nov 1993. Pratchett, Terry & Stephen The Streets of Ankh-Morpork. Corgi, Nov 1993. Schwertberger, De Es. Heavy light: The Art of De lis. Morpheus International, Nov 1993. Server, Lee. Danger isMy Business: An IUustrated His-tory of the Fabulous Pulp Magazines, 1896-1953. Chronicle Books, May 1993. Simmons, Gary. The Technical Pen. Simonson, Walt, Gil Kane & George Perez. Jurassic Park. Spiegelman, Art. Maus. Whalley, Joyce Irene & Tessa Rose Chester. The Bright Stream: A His-tory of Children's Book IUustratIon. David R. Godine, Dec 1993. Whelan, Michael. The Art of Michael Whelan. Bantam Spectra, Oct 1993. Wiater, Stan & Stephen R Bissette. Comic Book Rebels: Conver.satiollS with the Creator.s of the New Comics. Donald I. Fine, 1993. Yerka, Jacek & Harlan Ellison. Mind Fields: The Art of Jacek Yerka-The Fiction of Harlan Ellison. Morpheus International, Dec 1993. 80m DO THPE. CD. VIDEO Boucher, Anthony & Denis Green. The New Adventures of Sherlock Hoimes, Volume 22: Murder By Moonlight and The Singular Affair of the CoptIC 22


STRA Revle." '209, January/February 1994 Compass. Simon & Schuster. December 1993 (P). Read by Basil Rathbone & Nigel Bruce. Boucher. Anthony & Denis Green. The New Adventures of Sherlock Hoimes, Volume 23: The Gunpowder Plot and The Singular Affair of the Babbling Butler. Simon & Schuster. February 1994. Read by Basil Rathbone. Nigel Bruce & Tom Conway. Crispin. Ann C. Star Trek: Sarek. Simon & Schuster. March 1994. Read by Mark Leonard. Dickens. Charles. A Christmas CaroL Simon & Schuster. October 1993 (P). Read by Patrick Stewart. Duane. Diane. Star Trek: The Next Generation: Dark Mirror. Simon & Schuster. December 1993. Read by John DeLancie (P). King. The Mist in 3-D. Sound CD. Simon & Schuster. September 1993 (P). Koontz. Dean R Mr. Murder. Simon & Schuster. December 1993 (P). Read by Jay O. Sanders. Sommer. Bobbe & Mark Falstein. Psycho-Cybernetics 2000. Simon & Schuster. January 1994. Read by the authors. Stern. David. Star Trek: Transformation. Simon & Schuster. February 1994. Read by George Takei. Dana Ivey & Daniel Gerroll. -Neil Barron & Daryl F. Mallen 23


STRA Renew 1209, January/February 1994 SFAA MEMBERSHIP APPLICATIDN Please mail this completed form with your check for dues, payable to SFRA. in U.S. dollars only, please, to: Robert J. Ewald, SFRA Treasurer; 552 W. lincoln Street; Findlay, OH 45840. Dues: U.SA Canada Overseas Individual 1 $60 $65 $70 Dues Joint 2 $70 $75 $80 Student 3 $50 $55 $60 Other Instituion 4 $80 $80 $80 Emeritus 5 $30 $35 $40 Total If you wish to receive the British journal Foundation (3 issJyear), add $17 ($20 for airmail). 1 2 all standard listed benefits two members in the same household; two in the Directory listings, but will receive one set of journals 3 4 5 category may be used for a maximum of five years all priveleges except voting receives SFRA Reviewand Directory This membership is for the calendar year 1994. This information will appear in the 1994 SFRA Directory. Name: Mailing address: Homephone: __________________________________________ __ ________________________________________ Fax number: __________________________________________ Bitnet/Genie/other numbers: ________________________________ My principal interests in fantastic literature are (limit to 30 words): ___ Repeat last year's entry. 24


SJI'RA Review 1209, January/February 1994 NEWS &1 INFDRMATIDN CALLS FOR PAPERS SFRA 1994: The Science Fiction Research Association will hold its 1994 annual conference, "Science Fiction Out of Hand," July 7-10, 1994 at the Arlington Park Hilton; 3400 W. Euclid (at Route 53); Arlington Heights, Illinois. Authors Sheri S. Tepper and Octavia E. Butler will be special guests. Other authors and editors attending include: Gene Wolfe, Jack Williamson, Joan Vinge, Joan Slonczewski, Frederik Pohl, James Gunn, Philip Jose Farmer, and Phyllis & Alex Eisenstein. The SFRA's Pilgrim and Pioneer Awards for distinguished contributions to SF and fantasy scholarship will be given during the conference. Regarding the theme of the conference, directors Elizabeth Anne Hull of William Rainey Harper College and Beverly Friend of Oakton Community College comment: "Science fiction, the literature of change, is also a literature that makes connections among pasts, presents, and many possible futures. SF fragments our present and reassembles it in new ways. Will the center hold? How have writers in this speculative field viewed the components of human experience-individual. family. community. nation. world-singly or together?" The directors welcome papers on any component in this SF "hand." They especially invite papers dealing with the works of the special guests and the other attendin8 authors. The deadline for paper proposals is March 1. 1994. Two copies of an proposal should be sent to Dr. Hull at the Div. of Liberal Arts; William Ramey Harper College; Palatine. IL 60067. The advance registration fee for the conference is $115. which includes admission to all sessions. the Saturday night awards banquet. and the SFRA Hospitality Suite. The rate rises to $130 after June 10. 1994. Optional activities include a Friday night excursion to Medieval Times ($30) and a Sunday brunch ($25). Send registration fees to Dr. Hull. Hotel rooms at the Arlington Park Hilton will be $79 per night during the conference. Reservations must be made prior to June 10th. To make reservations. contact the hotel directly; phone the toll-free number 800/3443434 from outside Illinois; within Illinois. call 708/384-2000; or write to the Arlington Park Hilton; 3400 W. Euclid; Arlington Heights. IL 60005-1052. For your information: Founded in 1970. the Science Fiction Research Association is the oldest professional organization for the study of science fiction. fantasy. horror/Gothic. and utopian literature and cinema. The association's goals are to improve classroom teaching. to encourage and assist scholarship. and to evaluate and publicize new books and magazines dealing with fantastic literature and films. The SFRA's members come from many 25


SFRA Ren"" 1209, January/February 1994 countries and include instructors at all levels, librarians, students, authors, editors, publishers, libraries, and readers with widely varied interests. For more information, contact Dr. Hull or call her at 708/925-6323. -Leah Zeldes Smith; William Rainey Harper College Comics Studies Anthology: Peter Coogan and Solomon Davidoff' are planning a book on Maus titled, Here Our Reflections Begin: Commentary and Criticism on (and (1) Art Spiegelman's MallS. Articles and proposals from a wide range of theoretical, and disciplinary approaches, including previously published material, will be considered for inclusion. In general, abstracts should be between 200-250 words and articles from 20-30 double-spaced pages, including notes and appendices. Manuscripts may be submitted on paper, through electronic mail (ASCII text), or on computer diskette (Macintosh format, ASCII text, or Microsoft (TM) Word). Please enclose an SASE with all correspondence. Contact Peter Coogan; Comic Art Studies; MSU libraries; East Lansing. MI 48824-1048; 517/485-8039 (H); 517/353-4858 (B); email -Peter Coogan & Solomon Davidoff' Midwest Popular Culture Association and the Midwest American Culture Association: The Comic Art & Comics Area of the MPCNMACA is soliciting papers for presentation at the 21st Annual Conference of the Midwest Popular Culture Association and the Midwest American Culture Association to be held in Pittsburgh, Pennsylvania, Friday October 7 to Saturday October 8, 1994. Deadline: June I, 1994; Format: 75-word abstract. The Comic Art & Comics Area welcomes presentations from all academic disciplines. Submissions from scholars unaffiliated with a college or university, as well as graduate students and undergraduates are encouraged. Proposal sheets should include all the following information: name, home and work addresses, home and work phone numbers, email address and FAX number if you have these, Presentation Title, 75-word abstract, audio/visual equipment needs, day/time preference. For information or submissions, contact Peter Coogan; Comic Art Studies; MSU libraries; East Lansing, MI 48824-1048; 517/485-8039 (H); 517/353-4858 (B); email For information on other areas, or on the MPCNMACA, please write: Carl B. Holmburg. Executive Secretary, MPCNMACA; Popular Culture Dept.; Bowling Green State University; Bowling Green, OH 43403; 419/372-8172.;; -Peter Coogan Third Annual Comic Arts Conference: The Third Annual Comic Arts Conference is accepting papers to be presented at a joint meeting of comics scholars and professionals at the Chicago ComiCon on Saturday, July 2, 1994. Papers may be on any area of comics research including. but not limited to: Comics Scholarship, Teaching Comics and Teaching with Comics, History of the Medium, Creator Biographies, Comics Theory and Aesthetics, Audience Studies/Fan Culture, Industria1lEconomic Analysis, Gender Studies, Scott McCloud's Understanding Comics. 26


SFRA Revlew'209, JllDuarr,February 1994 Faculty. students. and those outside the university community are encouraged to make submissions. Professionals interested in making slide (or other) presentations and/or serving as respondents for papers are encouraged to make submissions as well. A 50-100 word abstract must be submitted no later than April I. 1994. Notification of acceptance will be sent on April 10. For citation and bibliography. use a style recognized by your academic discipline. Each completed paper should include a one-paragraph biographical sketch of the author(s). Completed papers should be to the program coordinator by June 3. 1994. Inquiries. abstracts. articles. and registration forms for this should be sent to Peter Coogan; Comic Art Studies; MSU libraries; East Lansing. MI 48824-1048; 517/485-8039 (H); 517/353-4858 (B); email -Peter Coogan The 16th Annual J. Lloyd Eaton Conference: April 15-17. 1994. University of California. Riverside. TOPIC: "Science Fiction and the Contests for Authority. The position of science fiction in literature and culture today raises numerous questions of authority: who is accepting. or rejecting SF. and on what grounds are they doing so? Contests for authority concerning SF are occurring on many levels today. Indeed. they have done so since the genre arose in the early' nineteenth century. or even since the Renaissance conceived the poSSibility of a "scientific" world view. To study these is to gain insight into the complex relations of politics. morality. and literary expression. The questions are myriad: Why. for instance. do so many college SF classes teach Childhood's End, A Canticle for Leibowitz, or Neuromancer? Why do these same classes neglect Heinlein? Why do fans (on the other hand) reject inclusion of writers like Doris Lessing and Jorge Luis Borges in their canon of SF? Why are works of Stnaley Kubrick and William Golding considered "mainstream," while those of David Cronenberg and Stanislaw Lem are considered SF? How are these assignments made. and what difference do such assignments make. and to whom? Taking another tack. can we explain why terms taken from the SF domain are. at one and the same time. immensely popular. and generally pejorative: witness the use of "utopia" for a foolish dream; "star wars" for the strategic defense initiative. "cvberpurIk" for a particularly garish youth culture? In what sense can such SF' terms be said to have cultural power? What are the sources of their strengths. the aims of their users. the alternatives they suppress? SF is a genre with multiple contexts as well as contests of authority. In the academy. in publishing. in popular culture. in the realms of ideologies and cultural politics. SF has provoked different responses. created different standards for judgment. This conference invites papers that deal with any possible context of this competition: why do we continue to consider The Tempestin a different light from King Lear, who is to decide today whether or not any good SF has been written in the last ten years? The topic is as broad as canon formation. literary politics. and modes of literary valuation. We ask only that papers dig beneath the assumptions. and seek some "substantifique moelle." Send inquiries and papers before January 15. 1994 to George E. Slusser; Eaton Collection; University of California. Riverside library; Riverside. CA 92521 or fax proposals to 909t787-3285. -George E. Slusser 27


SFRA Revle.'209, January/February 1994 MILLENNIUM'S END AS STORY AND MOTIF? I am compiling a list (with a view to assembling and editing an anthology) of stories that focus on this century's and this millennium's end (i.e., on the years 1999, 2000, or 2001), such as James Blish's "Turn of a Century" (Dynamic Science Fiction. March 1993), or novels in which that topic constitutes a significant motif, such as Robert Silverberg's The Stochastic Man (1975). He would be grateful for any title suggestions. If you have any, please write to Dr. David Ketterer; Dept. of English; Concordia University; 1455 de Maisonneuve Boulevard West; Montreal, Quebec, H3G 1MB CANADA All correspondents on this subject will be acknowledged in any consequent publication. -David Ketterer am preparing a special issue of LIbrary Trends dealing with speculative fiction in the libraries. Topics can be general or specific, targeting cataloging problems, storage facilities, preservation, specific difficulties in this field, lack of information, miscataloging, purchasing & ordering, ILL, or more. Please query or send a prospectus/abstract to me at: Daryl F. Mallett; 11461 Magnolia Avenue #251; Riverside, CA 92505. -Daryl F. Mallett THE ENCYCLOPAEDIA GALACT/C4: I've been engaged by Prentice Hall to produce The Encyclopaedia Galactica, a reference work consisting of three cross-referenced volumes called The Encyclopaedia Galactica, Fantasia, and Horrifica. The project survived a change of staff at the publisher as a number of irreconcilable creative differences between myself and myex-collaborator, Michael Kurland. Each volume will feature the following articles/appendices: 28 1. Biographical profiles of authors, artists, and editors. 2. Bibliographies of all the author's fiction books (giving publication dates & awards received) listed in series/alpha order, plus up to five nonfiction books or articles as well as produced screenplays and for tv series experience (including animations). Noteworthy stories will be covered within each biography. Forthcoming books will be listed as well as works in progress. 3. Ephemera-board and computer games, etc. 4. Films Reviews-About 100 per volume. 5. Professional and fan organizations and awards. 6. Photos by Christine Valada, who is responsible for the "Wall of Fame" shown at WorldCons. 7. Publishing-small presses, prozines, fanzines, Science Fiction Book Club, series (e.g., Ace Science Fiction Specials, Ballantine Adult Fantasy, Forgotten Fantasy). B. Signature Pieces (see article on same).


SJI'RA ReneIF'209. January/February 1994 9. Topics-Articles on everything from Space Travel to The Living Dead to Arthurian Fantasy. Signature Pieces: Some of the field's finest writers were invited to Contribute. The result: these original articles: Fantasia: "Dragons, Unicorns and Elves: Avoiding Cliches," by Marion Zimmer Bradley; "The Fall and Rise of Fantasy," by L. Sprague de Camp; "Defining Magic Realism," by Charles de Lint; "Women Warriors in Fantasy," by Andre Norton: "Weapons in Fantasy," by Gene Wolfe. GaJactica: "Why a Quark? Humor in Science Fiction," by Alan Dean Foster; "Consultants: The Use and Treatment Thereof," by Anne McCaffrey; "Science Fiction: Pulps ... and Prophecy," by Frank Robinson; "SF and the Beasts," by Norman Spinrad; "The Fiction in Science Fiction," by William Tenn. Horrifica: "The Golden Age of Horror Films," by Robert Bloch; "Dark Theatre of the Mind: Horror on Radio," by William F. Nolan; "The Horror Writer as Grendel," by Dan Simmons. I'm looking for other professional writers and researchers interested in contributing author profiles and/or specific theme entries of one paragraph to 2.500 words. Please write to me at 8740 Penfield Avenue; Northridge, CA 91324-3224 for rates, guidelines, and master list. You can also send e-mail via any of these on-line services: AOL (LydiaM); CompuServe (70720,604); and GEnie (LMaranoI). -Lydia Marano POPULAR CULTURE AND LIBRARIES: The Popular Culture Association will be meeting in Chicago, Illinois, April 6-9, 1994. Scholars who work in all aspects of popular culture will meet and share common interests. Anyone who is interested in presenting a paper on a topic related to popular culture and libraries should submit a brief abstract (no longer than a page) of the proposed paper to: Allen Ellis; W. Frank Steeley Library; Northern Kentucky University; Highland Heights, KY 41099-6101; 606/572-5527; FAX 606/5725390. -Neil Barron CoMIC BooKS AND LIBRARIES: For the journal Popular Culture in LIbraries. Anyone interested in writing articles examining any aspects of comic books or related materials (comic strips, big-little books, etc.) in relation to libraries, should contact issue editors: Doug Highsmith; University Library Reference; California State University, Fullerton; Fullerton, CA 92634-4150; 7141773-2976; FAX 7141773-2439, or Allen Ellis above. Deadline for submission of manuscripts is June 30, 1994. -Neil Barron 29


SFRA RerJewt209. January/February 1994 JOURNAL OF THE FANTASTIC IN THE ARTS: Editor Carl B. Yoke seeking papers for a special issue on alienation and the figure of the outsider in the fantastic, 3,000-6,000 words in length, following the current MLA style manual. This special issue will appear in late 1993 or early 1994; submit immediately to 1157 Temple Trail; Stow, OH 44224-2238. -Neil Barron I am putting together a collection of essays on the fiction of R A Lafferty, to be called The Astrolabe Papers. I'm looking for original scholarly essays on all aspects of Lafferty's fiction. Papers can be about a specific story or novel, recurring themes, almost anything that relates to the work and career of R A Lafferty. I'm paying $35.00 plus two copies of the book. Submissions and queries should be sent to Steve Pasechnick; Edgewood Press; P.O. Box 380264; Cambridge, MA 02238. -Steve Pasechnick SFRA ANTHOLOGY: Daryl F. Mallett and I have been asked to edit a new SFRA anthology of short stories to be used for teaching in college and university science fiction classes. The present anthology, published by HarperCo11ins, is badly out of date and the publisher appears to have no desire to revise it. Therefore, we are selecting ideas about what you liked in the old anthology and what you would like to see in a new one. If interested in assisting us in this endeavor or just in making suggestions, please contact either of us soon. -Milton T. Wolf INTERNATIONAL EATON CONFERENCE: An international conference on the topic" The Time Machine: Past, Present, and Future," will be held July 2629, 1995 at Imperial College, London, England. Sponsored by The H. G. Wells Society and The J. Lloyd Eaton Collection of Science Fiction and Fantasy Literature at the University of California, Riverside, the joint international symposium will be held to celebrate the centenary of H. G. Wells's The Time Machine. Outline proposals for the following areas are particularly welcomed: The Time Machine as Text; 17M and the 5n-de-siecle; TTM and 19th century science; 17M and the Int'l Development of Modern SF; 17M and Modern Cosmology: The Coming Together of Biology and Physics. Proposals should be sent to Dr. Sylvia Hardy, H. G. Wells Society, Dept. of Nene College, Moulton Park, Northhampton NN2 7 AL ENGLAND, FAX: 011/44/604-720636 and to Dr. George E. Slusser, J. Lloyd Eaton Collection, Rivera Library, University of California, Riverside, P.O. Box 5900, Riverside, CA 92517 USA, FAX: 909/787-3285. -George E. Slusser "I am preparing to edit THE DICTIONARY OF LITERARY BIOGRAPHY volumes on British science fiction and fantasy authors. If SFRA members are interested in contributing an/some essay/s to these volumes, please send me a 30


SFRA Rene.'209, January/February 1994 list of authorls by preference and a summary of your related expertise. I shall be happy to give any additional information as needed. Send replies/queries to Darren Harris-Fain; 113 Paces Run Court; Columbia, SC 29223-7944. Please note new address. -Darren Harris-Fain "I have been appointed editor of a Special Issue of SHA W which will be concerned with "Speculative Fiction and George Bernard Shaw." I am interpreting that loosely enough to invite articles on late 19th century speculative literature which may have influenced GBS and the English culture of the time. There will be a panel on this subject at both the next IAFA meeting in March and at the SFRA meeting in Reno. I welcome proposals for both the and the publication. There is plenty of lead-time, so give it some thought." -Milton Wolf GREENWOOD PRESS: Call for monograph proposals in science fiction and fantasy. Greenwood Press is seeking proposals for book-length, single authored scholarly volumes in its CoNTRIBLmONS TO TIiE STUDY OF SciENCE FlcnON AND FANTASY series, edited by Marshall B. Tymn, Donald E. Palumbo, and C. W. Sullivan III. Proposals should include a brief prospectus, a table of contents, a one-paragraph description of each chapter, and a curriculum vitae. Proposals on science fiction and fantasy are invited in such areas as film studies, other popular culture studies, art, science fiction, fantasy literature, mythology, and folklore. Please send proposals that deal primarily with film, other popular culture studies, art, or science fiction to Donald E. Palumbo; Dept. of English; East Carolina University; Greenville, NC 27858. Please send proposals that deal primarily with fantasy literature, mythology, or folklore to C. W. Sullivan III; Dept. of English; East Carolina University; Greenville, NC 27858. -Donald E. Palumbo & C. W. Sullivan III BRRHRID BooKH This (20 January 1994) list supercedes that in SFRAR #206. Books listed here were unsold at the Reno SFRA Conference, pious books received since then, all at of 40-60% off list price. All books listed are hardcover except as noted (tp=trade paperback), are new, often with publisher information laid in, with jackets if issued. Year of publication is 1992-94 except as noted. List price appears in parentheses, selling price in boldface. USPS surface shipping costs: $1.50 first book, $1.00 each additional book, with books shipped free for any order totaling $100.00+. (Figure two mass market paperbacks=one book). Make all checks payable to NEIL BARRON, 1149 Lime Place; Vista, CA 92083; 619/726-3238 (after 6:00 p.m. Tue.-Thurs., Sun., anytime Fri. or Sat.). Please list alternates; a refund check will be immediately sent for any 31


SFRA Revlewf209. January/February 1994 books previously sold. A portion of the revenue /tom the sale of these books will be donated to SFRA. Reference: Barron, Neil, ed. Anatomy of Wonder: A Critical Gwae to SF, 11lird Edition. Bowker, 1987. Hugo Award Nominee. The 200+ pages devoted to SF not translated into English from thirteen languages will be dropped from the fourth edition, and many books will be dropped, 900 p., ($44.95), $38.61. Barron, Neil, ed. Fantasy literature: A Reader's Guide and Horror literature: A Reader's Gwae. Garland, 1990. Similar in format to AOW, 600+ pages each, ($55.00 each), $44.00 each. None of these titles ever sold at less than Jist. Cassidy, Bruce, ed. Modern Mystery. Fantasy, and Science Fiction Wn'ter.s. Continuum, 700 p., ($75.00), $40.00. Kies, Cosette. Supernatural Fiction for Teens: More Than 1300 Good Paperbacks to Read for Wonderment, Fear, and Fun. libraries Unlimited, ($24.95 tp), $12.00. Rosenberg. Betty & Diana Tixier Herald. GenreOecting: A Guide to Reading Interests in Genre Fiction, 11lird Edition. libraries Unlimited, 1991, ($33.50), $17.00. History & Criticism: Aertsen, Henk & Alasdair A. MacDonald, eds. Compamon to Mladle English Romance. VU University Press, ($34.95 tp), $12.00. Barr, Marleen S. Lost in Space: Probing Feminist Science FictJon and Beyond University of North Carolina Press, ($14.95 tp), $8.00. Bradley, Marion Zimmer. The Necessity for Beauty: Robert w: Chamber.s & the Romantic TraditIon. T-K Graphics, 1974,45 p., stapled tp. Long OP. $4.00. Caidin, Martin S. Natural or Supernatural: A Casebook of True, Unexplained Mysteries. Contemporary, ($12.95 tp), $5.00. Filmer, Kath. and Hope in TwentJeth Centwy Fantasy Literature. Popular Press, ($13.95 tp), $8.00. Heller, Tamar. Dead Secrets: Wilkie Collins and the Female Gothic. Yale University Press, ($25), $12.00. Kendrick, Walter. The ThriU of Fear: 2S0 Year.s of Scary Entertainment. Grove, ($12.95 tp), $8.00. Ketterer, David. Canadian ScIence Fiction and Fantasy. Indiana University Press, ($27.50), $16.00. Kies, Cosette. Presenting Young Adult Horror Fiction. Twayne, ($19.95), $9.00. Le Guin, Ursula K. The Language of the Night: Essays on Fantasyand ScIence FiCtion, Revised Edition. HarperCollins, ($20.00), $14.00. Malmgren, Carl D. Worlds Apart: Narratology of Science Fiction. Indiana Uruversity Press, ($22.50), $12.00. McGillis, Roderick, ed. For the Childlike: George MacDonald's Fantasies for Children. Scarecrow Press, ($29.50), $14.00. McKnight, Stephen A., ed. ScIenCe, Pseudo-Science, and Utopianism in Early Modern Thought. University of Missouri Press, ($37.95), $16.00. Milbank, Alison. Daughter.s of the House: Modes of the Gothic in Victonan FictIOn. St. Martin's Press, ($39.95), $18.00. 32


SFRA Rene .... 209, January/February 1994 Morse. Samuel. Marshall B. Tymn & Csilla Bertha. eds. The Celebration of the Fantastic: Selected Papers !Tom the 10th Annual International Conference on the Fantastic in the Arts'. Greenwood Press. ($49.95). $24.00. Murphy. Patrick D.. ed. Staging the ImpossIble: The Fantastic Mode in Modern Drama. Greenwood Press. ($49.95). $22.00. Myers. Arthur. A Ghosthunter's Guide to Haunted Landmarks. Parks, Churches, and Other Public Places. Contemporary. ($12.95 tp). $5.00. Ordway. Frederick & Randy liebermann. eds. Blueprint for Space: Science Fiction to Science Fact. Smithsonian. ($27.95 tp). $14.00. Price. Robert M., ed. Black ForbIdden Things: Cryptical Secrets' !Tom the "Crypt ofCthulhu. Starmont House/Borgo Press. ($11.95 tp). $4.00. Sampson. Robert. Yesterday'S Faces: A Study of Series Characters in the Early Pulp Magazines, Volume 6: Violent Lives. Bowling Green University Press. ($18.95 tp). $10.00. Scholnick. Robert J .. ed. American Literature and Science. University Press of Kentucky, ($28.00). $13.00. Slusser. George E. & Eric S. Rabkin. eds. Styles of Creation: Aesthetic Technique and the Creation of Fictional Worlds. University of Georgia Press. ($20.00 tp). $12.00. Sterling. Bruce. The Hacker Crackdown: Law and Disorder on the E1ectromc Frontier. Bantam. ($5.99 mass market paperback). $3.00. Sullivan. C. W. III. ed. Science fiction for Young Readers. Greenwood Press. ($49.95). $22.00. Wunderlich. Roger. Low Living and High Thinking at Modern Times, New York. Syracuse University Press. ($34.95). $15.00. Author Studies: [Campbell. R] Joshi. S. T ed. The Count of Thirty: A TrIbute to Ramsey Campbell. Necronomicon. ($6.50 stapled tp). $3.00. [Carroll. L.] Rackin. Donald. Alice's Adventures in Wonderland and ThroulU1 the Looking Glass. Twayne. ($21.95). $11.00. [Qarke. A.] McAleer. Neil. Arthur C Darke: The Authorized Biography. Contemporary. ($25.00). $13.00. [Dunsany. L.] Joshi. S. T. & Darrell Schweitzer. Lord Dunsany: A BIbliography. Scarecrow, ($42.50). $22.00. [Gilman. C.] Ceplair. Larry. ed. Charlotte Perkins Gilman: A Nonfiction Reader. Columbia University Press. ($20.00 tp). $10.00. [King. S.] Magistrale. Tony. Stephen King: The Second Decade. Twayne. ($20.95). $12.00. [Lewis. C.] Howard. Thomas. C S. Lewis, Man of Letters: A Reading of His fiction. Ignatius. ($10.00 tp). $6.00. [Lewis. C.] Manlove. Colin. The ChromCles of Narnia: The Patterning of a FantastIc World. Twayne. ($22.95). $12.00. [Lewis. C.] Walker. Andrew & James Patrick. eds. A Christian for All Christians: Essays in HonorofC S. Lewis. Regnery. ($10.95 tp). $6.00. [Orwell. G.] Orwell. George. The War Commentaries. ($8.95 tp). $4.00. [Poe. E.] Meyers. Jeffrey. Edgar Allan Poe: His Life B Legacy. Scribners. ($30.00). $17.00. [Rushdie. S.] Harrison. James. Salman Rushdie. Twayne. ($20.95). $11.00. [Sendak. M.] Sonheirn. Amy. MaunceSendak. Twayne. ($20.95). $10.00. [Shelley. M.] Blumberg. Jane. Mary Sheffey's Early Novels. University of Iowa Press. ($27.95). $14.00. 33


SFRA Rene." '209, January/February 1994 [Silverberg. R.] Elkins. Charles L. .Martin H. Greenl?erg. .eels. Robert Silverberg's Many Trapdoors: CntJcal &says on HJS ScIence Fiction. Greenwood Press. ($47.95). $22.00. [Stoker. 8.] Lorinczi. Marinella. Nel Dedalo del Drago: Introduziona a Dracula. Bulzoni Editore. ($25.00 tp). $8.00. [Verne. J.] Jules Verne: The Man Mlo Invented Tomorrow. Walker. ($14.95). $6.00. [Wells. H.] Hammond. J. R. H. G. Welk and Rebecca West. St. Martin's Press. ($39.95). $20.00. [Wells. H.] Hammond. J. R. H. G. Welk and the Short Story. St. Martin's Press. ($39.95). $20.00. [Williams. C.] Howard. Thomas. The Novels of Charles Williams. Ignatiud. ($10.00 tp). $5.00. Film&1V: Oover. Carol J. Men. Women. and Chain S8w.y: Gender in the Modern Horror Film. Princeton University Press. ($12.95 tp). $8.00; ($19.95 cloth). $12.00. Greenaway. Peter. Prosperos Books: A Film of Shakespeares The Tempest. Four Walls. Eight Windows. ($24.95 tp). $10.00. Landon. Brooks. The Aesthetics of Ambivalence: Rethinking Science FictJon Film in the Age of Electro me (Re)productJon. Greenwood Press. ($45.00). $23.00. Marrero. Robert. Dracula: The Vampire Legend on Film. Fantasma. ($12.95 tp). $6.00. Marrero. Robert. Vintage Monster Movies. Fantasma. ($12.95 tp). $6.00. Nottridge. Rhoda. Horror Films. Crestwood. ($12.95). $5.00. Pilato. Herbie J. The Bewitched Book: The Cosrme Compamon to TV's Most Magical Supernatural SituatJon Comedy. Delta. ($14.00 tp). $6.00. Renzi. Thomas C. H. C. Welk: Six Scientiffc Romances Adapted for Film. Scarecrow. ($29.50). $14.00. Schultz. Wayne. The Motion PIcture Serial: An Annotated Bibliography. Scarecrow. ($42.50). $20.00. Schoell. William. Comic Book Heroes of the Screen. GtadeVCarol. ($29.95). $14.00. Shapiro. Marc. Mlen Dinosaurs Ruled the Screen. Image. ($12.95 tp). $6.00. Staskowski. Andrea. Science FictJon Movies. Lerner. ($13.95). $6.00. Weaver. Tom. ed. Creature from the Black Lagoon. MagicIrnage. ($20.00 tp). $12.00. Wiater. Stanley. Dark VisIOns: Conversations with the Masters of the Horror Film. Avon. ($10.00 tp). $6.00. Illustrations & Cornics: Benton. Mike. The Corme Book in Amenea. Revised Edition. Taylor. ($19.95 ea.). $10.00. Tolkien. J. R. R. & Christopher Tolkien. Pictures by J. R. R. Tolkien. Houghton. ($40.00). $18.00. Hardcover Fiction: Hazel. Paul. The Wealdwifes Tale. AvoNovaIMorrow. ($20.00). $8.00. Jablokov. Alexander. ADeeperSea. AvoNovaIMorrow. ($22.00). $10.00. Jablokov. Alexander. Nimbus. AvoNovaIMorrow. ($22.00). $10.00. 34


STRA Renew'209, January/February 1994 Mann. Phillip. WulLV}arn. AvoNovaIMorrow. ($22.00). $10.00. McAuley. Paul J. Etemallight. AvoNova. ($22.00). $10.00. Morrow. James. The Continent of Lies. Holt. 1984. ($15.95). $10.00. Norton. Andres. Brother to Shadows. AvoNova. ($20.00). $10.00. Norton. Andre. Golden Trilhiun. Bantam. ($21.95). $11.00. Paxson. Diana L. & Adrienne Martine-Barnes. Master of Earth and Water. AvoNovaIMorrow. ($22.00). $9.00. Pellegrino. Charles. Flying to ValhaUa. AvoNovaIMorrow. ($22.00). $9.00. Rohan. Michael Scott. The Cates of Noon. AvoNovaIMorrow. ($20.00). $8.00. Weis. Margaret & Tracy Hickman. The Hand of Chaos. Bantam. ($21.95). $9.00. Trade Paperback Fiction: DeHaven. Tom. The Last Human. Bantam. ($11.00). $3.00. Ford. John M. Crowing Up Weightless. Bantam. ($11.95). $5.00. Kerr. Katharine. Days of Blood and Fire. Bantam. ($11.95). $6.00. Lewis. Philip. Life of Death. Fiction Collective. not fantastic. ($8.95). $3.00. MacDonald. Ian. The Broken Land Bantam. ($11.00). $5.00. Volsky. Paula. The WoU'ofWmter. Bantam. ($12.95). $6.00. Wilson. Robert Charles. The Harvest. Bantam. ($12.00). $5.00. Mass Market Paperback Fiction: Asimov. Isaac & Martin H. Greenberg. eds. The Ugly Little Boy. Bantam. ($5.99). $2.00. Barker. Clive. The ThiefofAlways. Harper. ($5.99). $3.00. Donaldson. Stephen R A Dark and Hungry God .Arises. Bantam. ($5.99). $2.00. Jones. Diana Wynne. A Sudden. Wild Magic. Avon. ($4.99). $2.00. Mann. Phillip. WulLV}arn. Avon. ($4.99). $2.00. Niven. Larry & Jerry Pournelle. The Crippmg Hand ($5.99). $3.00. Silverberg. Robert. Kingdoms of the WaD. Bantam. ($5.99). $3.00. Simmons. Dan. The HoUow Man. Bantam. ($5.99). $3.00. Stephenson. Neal. Snow Crash. Bantam. ($5.99). $3.00. Willis. Connie. Impossible Bantam. ($5.99). $3.00. Zindell. David. The Broken God Bantam. ($5.99). $2.00. The following mass market paperbacks are most list-priced at $4.50-$4.99 and are uniformly priced at $1.50 each. Publishers are omitted: Arnason. Eleanor. Changing Women. Asimov. Isaac. Lucky Starr and the Moons of Jupiter! Lucky Starr and the Rings of Saturn. Asimov. Isaac. Lucky Starr and the Oceans of VenlJ.!/ Lucky Starr and the Big Sun of Mercury. Bischoff. David. Aliens: Genocide. Bova. Ben. Sam Cunn Unlimited. Bredenberg. Jeff. The Dream VesseL Bredenberg. Jeff. The Man m the Moon Must Die. Cole. Adrian. Blood Red AngeL Cole. Adrian. Thief of Dreams. Cole. Adrian. Warlord of Heaven. DeHaven. Tom. The Last Human. 35


SFRA RevJew 1209, January I February 1994 Deitz, Tom. Wordwri!!ht. Frost, Gregory. The Pure Cold light. Gerrold, DaVid. Under the Eye of God. Geston, Mark S. Mirror to the Sky. Gravel, Geary. Batman: Duel to the Death. Gravel, Geary. Batman: Mask of the Phantasm. Gravel. Geary. Batman: Shadows of the Past. Green, Sharon. The Hidden Realms. Greenberg, Martin H., ed. The Further Adventures of Superman. Greenberg, Martin H., ed. The Further Adventures of Wonder Woman. Greenberg, Martin H., ed. Isaac AsIinovs Umverse, Volume 3: Unnatural Diplomacy Greenland, Colin. Harms Way. Grimes, Lee. Retro lives. James, L. Dean. Summerland. Jeffries, Mike. HaU of Whispers. Jeter, K. W. AHen Nation #2: Dark Horizon. Keith, W. H. WarstrJder. Kerr, Katharine. DaggerspeD. Kerr, Katharine. A TIine of Omens. Lawhead, Stephen. The Silver Hand. Leigh, Stephen. Dinosaur Planet. McDonald, Ian. Scissors Cut Paper Wrap Stone. Moran, Daniel Keys. The Last Dancer. Obendorf, Charles. Testing. Perry, Steve & Stephani Perry. Aliens, Book 3: The Female War. Robeson, Kenneth. The Forgotten Realm. Rohan, Michael Scott. Chase the Morning. Sarabande, William. The Edge of the World. Skipp, Charles & Craig Spector. Animals. Turner, George. The Destiny Makers. Vornholt, John. The Fabulist. Weis, Margaret & Tracy Hickman. The Hand of Chaos. Willis, Paul J. No Dock in the Forest. Willis, Paul J. The Stolen River. Wu, William F. Isaac AsIinovs Robot Gty: Wamor. Audio: The Diamond Lens, performed by George Gonneau, music by Brad Hill. Spencer Library, ($10.00), $5.00. The FaU of the House of Usher, performed by Uoyd Battista, music by Brad Hill. Spencer Library, ($10.00), $5.00. Fanzines: Approx. 50 specimen issues of recent fanzines, including many from Necronomicon Press, list-priced from $2.50-$6.00; $1.00 each, list upon request. Comics and Graphic Novels: A handful of these, all dirt cheap,list upon request. -Neil Barron 36


SFRA Revlew'209, January/February 1994 mRRRZInE/CRTRLOR nEwa AnimEiGOSSIPVol. 2:4 (December 25. 1993). an informative magazine from AnimEigo Inc. (p.O. Box 989; Wilmington. NC 28402-0989; 910/251-1850; fax 910/763-2376; lists forthcoming Japanese animation films from this importer. -D.F.M. Art-Toons No. 10 (November 1993) is a catalog of animated art available for sale (Art-Toons. P.O. Box 600; Northfield. OH 44067; 216/4682655). It includes materials from Ren [I Stimpy, Jim Henson. Walter Lantz. Beedejuice. Peanuts. Ralph Bakshi. Ruby Spears. Lord of the Rin&s. Fritz Freleng. Star Trek: The Animated Series. Scooby Doo. Hanna Barbera. and much more. -D.F.M. Book Carm'val Newsletter Vol. 2:1 (January/February 1994). edited by Ed & Pat Thomas (The Book Carnival; 348 S. Tustin Avenue; Orange. CA 92666) contains information about this mystery/SF bookstore located in Southern California. with including Jonathan Kellerman. Harry Turtledove. Jan Burke. Karen Kijewski. Richard Parrish. Janet La Pierre, Marlys Milhiser. and Abigail Padgett. -D.F.M. Cornucopia No.6. the newsletter of Author Services Inc. (7051 Hollywood Blvd.. Ste. 400; Hollywood. CA 90028) contains news and information about forthcoming releases of the works of SF writer L. Ron Hubbard. -F.S. The new 1994 DAW Books catalog is available. featuring a gorgeous, full-color cover by Michael Whelan illustrating Foreigner. by C. J. Cherryh, only one of many incredible titles offered by DA W in the coming year in this 36-page. 81/2X11 slick publication. Contact DAW Books; 375 Hudston Street; New York. NY 10014. -D.F.M. The J. Wayne and Elsie M Gurm Center for the Study of Science Fiction. The Um'versity of Kansas Newsletter (January 14, 1994; Dept. of English; University of Kansas. Lawrence; Lawrence, KS 66045). Includes information about the 1994 Summer program, at which SFRA members James Gunn. Frederik Pohl, and Elizabeth Anne Hull will be present. D.F.M. LitNews (November 6, 1993; Convention Edition) arrived with information on LitSearch Inc. (p.O. Box 2041; Centreville. VA 22020; 703/830-0952). a company formed to and preserve SF, fantasy. and horror on computer and providing a way m which to easily access these stories. For more information, contact editor Larry Roeder. -D.F.M. Peake Studies Vol. 3:3 (Winter 1993), edited by G. Peter Winnington arrived in December. The new look (7xl0" turned sideways) signaled something special. and indeed this is an anniversary issue honoring the twenty-fifth year since the death of Mervyn Peake (9 July 1911-17 November 1968). This issue includes "The Impact of Mervyn Peake on His Readers," by G. Peter Winnington and "The Chinese Puzzle of Mervyn Peake," by Lawrence Bristow-Smith as well as news Peakeian. Subscriptions are on a per-page basis; send or to G. Peter Winnington; Les 3 Chasseurs; 1413 Orzens, Vaud SWITZERLAND. -D.F.M. The Plain Truth Vol. 59:3 (March 1994) (p.O. Box 92494; Pasadena. CA 91109-2494), a nonprofit magazine targeted for teenaged Christian readers contains an article on virtual reality and its possible effects upon moral development and spiritual living. -D.F.M. 37


SFRA Renew 1209, January/February 1994 San Diego Comic Convention Update No. 1 (February 1994). A 24page, 81/2Xll" con update containing information about what is essentially the World Comics Conventions, held annually in San Diego, California. Attendees this year will include June Foray, Trina Robbins, Brinke Stevens, Lurene Haines, Forry Ackerman, Scott Shaw, Rick Geary, Sergio Aragones, Jim Valentino, John Pound, Craig Grothkopf, Dave Dorman, Greg Bear, Mark Evanier, and Lucius Shepard, among others. Contact P.O. Box 128458; San Diego, CA 92112; 619/491-2475; fax 619/544-0743. Jim Allen and Fusion Books (100 Fusion Way; Country Oub Hills, IL 60578; 800/959-0061) have sent The Science Fiction CoUection, their second featuring all your favorite SF movies, as well as nonfiction titles such as Cyberpunk, UFO: The Unsolved Mystery; and The Mind's Eye ... Everything from classics like Nosferatu (with Max Schreck), Planet of the Apes, Blake's 7. and Metropolis through Star Trek and Star War.sto today's smash hits like Total Recan. Terminator. and more. Also includes Japanimation, Godzilla films, Twilight Zone, etc. -D.F.M. SFWA BuUetin Vol. 27:3 (Whole No. 121, Fall 1993) contains essays such as "Novelizations," by Edo van Belkom; "Taxes for Writers," br, Cyn Mason; "Contract Article XI: The Law is an Ass," by Raymond E. Feist; 'Short Fiction Market Response Times," by Greg Costikyan; and a market report by van Belkom, as well as LoCs. Edited by Daniell-latch (SFW A Inc.; 120 Meidl Avenue; Watsonville, CA 95076) as an organ of the SFWA, it is available to members of SFWA with their dues, or for $3.95/iss.; $15/4 iss.; $18.50/4 iss. overseas. -D.F.M. Space-Time Continuum, edited by Bjo Trimble (p.O. Box 6858; Kingwood, TX 77325-6858) has increased rates as of February 28, 1994. Subscriptions are now $10/6 iss. (bulk rate); $15/6 iss. (first class). Sample copies are $1.00. -D.F.M. TSR Inc. (p.O. Box 756; Lake Geneva, WI 53147; 8OO/DRAGONS) sends their latest catalog, a slick, 81f2XIl" glossy, Il2-page, full-color extravaganza featuring books, games, and more. -D.F.M. 7V Gwde (Jan 15-21, 1994) contains interviews with Avery Brooks (Commander Benjamin Sisko of Star Trek: Deep Space Nine; William Shatner (Captain James T. Kirk of Star Trek) regarding his new television series, TekWar. and Patrick Stewart (Captain Jean-Luc Picard of Star Trek: The Next Generation) about his future plans (as well as some of the other ST:TNG cast members). Also included is an article, "rY's Brave New Worlds," by Glenn Kenny, on SF shows proliferating on TV, covering everything from the various Trek shows and TekWar to J. Michael Straczynski's Babylon 5 to the Sci-Fi Channel to John Landis' Fastlane, Sam Rairni's Hercules, The Adventures of Brisco County Jr., seaQuest DSV, Lois B Dark, Robocop and more. -D.F.M. Writer's Exchange BuUetin No. 34 (July 1993), edited by Joy Beeson for the National Fantasy Fan Federation, contains letters of comment by N3F members for N3F members. -D.F.M. -Daryl F. Mallett & Neil Barron BCHOLRRLY COnFEREnCEB/COnYEnTlOnB 15th International Conference on the Fantastic in the Arts, March 16-20, 1 3:00 p.m. V{ednesday to Noon Sunday. Fort Lauderdale Airport Hilton, Darua, Flonda. GoH: Roger Zelazny; Guest Scholar, TBA; Special 38


SFRA Revlew.209, January/February 1994 Guest, Ben Bova; Permanent Special Guest, Brian W. Aldiss; and other special guests, including Stephen R Donaldson, Joe Haldeman, H. Bruce Franklin, Brian Attebery, David Hartwell, Ellen Datlow, Tom Maddox, and more. IAFA; College of Humanities; 500 NW 20th; HU-50 B-9; Florida Atlantic University; Boca Raton, FL 33431; 717/532-1495. 94th ABA Convention & Exhibit, May 26-31, 1994. Los Angeles, California. American Booksellers Association; 560 White Plains Road; Tarrytown, NY 10591. SFSF '94, June 22-23, 1994. Barcelona, Spain. International workshop on Science & Technology through SF. Miquel Barcelo; Facultat d'Informatica; Universitat Politechnica de Catalunya; Pau Gargallo 5; E 08028 Barcelona SPAIN; Mythcon XXV, August 5-8, 1994. Washington, D.C. GoH: Madeleine L'Engle; Scholar GoH: Verlyn Flieger. AGoH: Judith Mitchell. Irv Koch; 5465 N. Morgan Street # 1 06; Alexandria, VA 22312. 95th ABA Convention & Exhibit, June 17-20, 1995, Chicago, IL. 96th ABA Convention & Exhibit, May 25-28, 1996, Los Angeles, CA. -Daryl F. Mallett WARP BRAPHICS EXPAnolnB PRODUCTIOn In New cornic book titles, a stepped-up schedule of book production, and the first from an agressive licensing program highlight, Warp Graphics' plans for 1994, according to Marketing Director Cat Kouns. Elfquest co-creator, writer/artist and Art Director Wendy Pini promises that 1994 will see the introduction of Jink, the enigmatic heroine from the World of Two Moon's technological future. The character herself actually was created a year or two before Elfquest began publication in 1978, and has undergone a number of transformations to become the sexy, savvy shapechanger she is now. Jink inhabits a high-tech world (called "Abode" by the humans whose society has taken it over) and deals with the unique problems that a creature of magic must face when confronted with virtual reality, space travel, and cyberpunk. Though Jink believes herself to be the last surviving elf in the world, who knows what surprises await her in as-yet unexplored areas of the planet? Also in development for 1994 is a companion series to Jink called The Rebels. In the same future world that Jink inhabits, a group of teenaged humans-each a genetically altered representative of hislher homeworld or space colony-come together for adventure and fun. But a secret from the distant past, when the elves first came to the World of Two Moons, threatens not only the Rebels as they gallivant about the planetary system, but also the balance of power of Jink's world of Abode itselfl Warp Graphics' existing Elfquest cornic book series will continue to evolve and grow throughout 1994 as well. Issue # 11 of HIdden YeaJ:5 introduces a long storyline that continues where of the Broken Wheel left off. The Wolfriders now live in the world's medieval period, and must deal with encroaching human civilization. In Issue #12, the warlord Grohmul Djun is introduced, and he promises to make life a living hell for the forest dwelling elves! The bimonthly HIdden YeaJ:5 is written by Wendy and Richard Pini and drawn by Brandon McKinney, with inks by Charles Bennett. New Blood continues its serial story as the "next generation" of Wolfriders-the who grew up in Sorrow's End-delve deeper and 39


SFRA RevIew '209, January/February 1994 deeper into the Forevergreen Quest. They've discovered a strange, new world within a continent-spanning rainforest-a deep green world where a lost city of humans worship a long-forgotten, four-fingered god! Storyteller Barry Blair weaves his lush tale in the monthly series. From "the land down under" comes WaveDancer.s-, the exotically aquatic tale of tribe of elves living in the Vastdeep Water, the great ocean. Intrigue adds to intrigue as the sea elves' search for their lost Queen and an unrecognized Winnowill spins her own web of deception around the innocent merfolk. U,'8veDancer.sis written and drawn br the Australian team of Julie Ditrich, Bruce Love, and Disney animator Joze Szekeres, and is a bimonthly publication. For ten thousand years, the Wolfriders hunted, fought, and loved before the time of Cutter, and Blood of Ten Chiefs chronicles those turbulent times. Stories written by well-known fantasy authors and adapted from the prose anthologies b Andy Mangels make the transition for four-color in this bimonthly offering, illustrated by a variety of talented artists. In 1994, Warp Graphics plans to augment the title by offering original stories as well that will help set the historical foundation for events that echo all the way into the elves' present-and future! With an expanded lineup of comics titles, Warp Graphics will also step up its production of hardcover graphic novels and collections in 1994. Already on the schedule for release during the year are: Rogue's ChaUenge, the collection (with new bridging art and story by Wendy Pini not published in the comics) of Hayek-related stories from Hidden Year.s#6 and #91 /2; Blood of Ten Chiefs, which will collect the comic title issues #1-6; The Quest, which will collect New Blood issues # 11-16; Bedtime Stories, designed to appeal to younger readers, combining the Effquest "fairy tale" stories that have appeared throughout New Blood, with a brand-new tale from Wendi Lee, Terry Beatty, and Gary Kato; and the BIG Effquest Gatherum, a compendium of articles, interviews, and artwork that go behind the scenes at Effquestand Warp Graphics. The BIG Gatherumwill condense and combine the material that originally appeared in the Effquest Gatherum volumes 1 and 2, and add much new and hard-to-find information. In the area of product merchandising for 1994, Warp Graphics has entered into licensing agreements with several manufacturers, an outgrowth of its representation by The Beanstalk Group Agency. The second quarter of the year Will see Effquest trading cards produced by Skybox, one of the most well-respected manufacturers of non sports cards. While the exact specifications of the Effquest set have yet to be determined, there will definitely be subsets and chase cards. Artwork for the cards will be done by several of the artists currently freelancing for Warp's comic book line, under the close supervision of Wendy Pini, who will also provide a number of the images. Also slated for early in the year is the first in what both Warp Graphics and Lasermach Inc. hope will be a series of Effquest figures. Lasermach is a producer of textured metal figurines which recently began making statues of comic characters; their first offering was The Tick, from New England Comics. For Warp Graphics, they are producing the character Cutter, chief of the Wolfriders, in a collector's edition of 5,000 pieces. Other licenses, for an Effquest "book-on-tape," temporary tattoos, character watches, and telephone calling cards, are pending. 1993 was Elfquests 15th anniversary of publication, and the year has highlighted by the "Fantasy With Teeth" Tour, spanning the United States and Canada, which lasted all year. Wendy and Richard Pini, the creators of 40


SFRA Rene.'209, January/February 1994 Elfquest and owners of Warp Graphics, have said that they want 1994 to be nothing so much as the "Year of Recovery" after the grueling pace of 1993. However, it is clear that at least in the arena of creative endeavors, the new year promises to be the most exciting and eventful in Warp Graphics' history. -Catherine Kouns, Warp Graphics BRRRY BlRIR JomB WRRP BRRPHICB Long time alternative comics creator Barry Blair has joined Warp Graphics as Managing Editor, publisher Richard Pini announced. A native of Ottawa, Canada, Blair has had a long and complex career in the comics industry. With his own Night Wynd Enterprises, a company he formed at age 16, Blair was an early participant in the North American selfpublishing movement, whinc included, among others, Warp Graphics founders Wendy and Richard Pini. During the 1980s, as president of the Ottawa-based Aircel Comics, Blair achieved notable success as the mastermind behind such titles as SamuraJ; Dragonforce, and ElDord. Most recently, Blair returned to self-publishing with a revived Night Wynd Enterprises. In addition to his editorial duties, Blair continues to write and illustrate the monthly Elfquest: New Blood title, which he took over with issue no. II. Given Warp Graphics' plans for 1994, Blair's appointment comes at an opportune time. "We're lucky to have him," said Richard Pini. -Conrad L. Stinnett III, Warp Graphics BooKLlBT CHOICEB Booklists "Editors' Choice '93," announced in the January IS, 1994 issue, included: Beagle, Peter S. The Innkeeper's Song. Penguin/ROc. Bisson, Terry. Bears Discover Fire. Tor/St. Martin's Press. McCloud, Sam. Understanding Comics. Kitchen Sinkffundra. Robinson, Kim Stanley. Red Mars. Bantam. -Michael Klossner nEWBERY mEORl fOR lOWRY Lois Lowry won her second Newbery Medal for children's fiction for The Giver, about a boy who discovers the truth about a utopian society. -Michael Klossner 41


BFRA RerJewI209, January/February 1994 JULES VERIIEOA fAIRY TRlE AnD An EnCYCLOPEDIA In the January 10, 1994 library of Congress Information Bulletin, Brian Taves describes the only fairy tale written by Jules Verne, Adventures of the Rat Family, published by Oxford University Press (1993, 72 p., $14.95; ISBN 01950-8114-5) with introductions by Taves and children's literature authority lona Opie. The Oxford edition is the first English translation of the tale (by Evelyn Copeland) and the first time since the tale's original publication in a Parisian magazine in 1891 that it has been reunited with the original illustrations by Felician Myrbach-Rheinfeld. Taves writes that "Verne both recognizes and mocks the idea of evolution by having his characters change from one species to another, finally making a metamorphosis into men and women." Taves is also editor of The Jules Veme Encyclopedia, to be published by Scarecrow in 1994. -Michael Klossner comics In LIBRARIES Popular Culture Acquisitions, edited by Allan Ellis (Haworth, 1992), includes a chapter by Doug Highsmith proposing the development of "focused" comic book collections in libraries. -Michael Klossner nOlR Sf Shades of Noir, edited by Joan Copjec (Verso, distributed by Routledge, 1994) includes original essays on "the present-day merging of film noir with horror and science fiction in such films as Angel Heart and Blade Runnel' Chromde of Higher Education, January 26, 1994. -Michael Klossner HORROR fiLm womEn The Monstrous-Feminine: Film, Feminism, Psychoanalysis, by Barbara Creed (Routledge, 1994), "analyzes the image of women in Alien, Carrie, The Exorcist, and other horror films"-Chromde of Higher Education, January 26, 1994. -Michael Klossner SCIEnCE AnD EmPIRE The Imperial Archive: Knowledge and the Fantasy of Empire (Verso, 1994) by Thomas Richards, examines how such authors as Kipling, Stoker, and Wells 42


SFRA Rene ... '209, JlUluary/Febraary 1994 "wrote fiction that drew on imperial-era science, equated knowledge with national security, and saw the control of information as a means of overpowering threats to the British Empires"-Chromde of Higher Education. -Michael Klossner BEnRE BEnDERS They Went Thataway: Redeffning Film Genres, edited by Richard T. Jameson (Mercury, distributed by Consortium, 1994), collects ninety articles on movies which altered genres and includes sections on horror and SF-Book$t, January 15, 1994. -Michael Klossner OLD TV David Story's America on the Rerun: TV Shows That Never Die (Carol Publishing Group, 1993), covers sixteen series, of which twelve were fantastic-M". Ed, My Favorite Martian, Bewitched, The Addams Family, The Man !Tom UNCL.E, The Munsters, Lost in Space, The Wild, Wild West, / Dream of Jeannie, Get Smart, The Avengers, and Dark Shadows. -Michael Klossner 2& mORE ID FILm REBISTRY On December 14, 1993, the library of Congress announced the addition of twenty-five more American films to the library's National Film Registry. Three were fantastic-Jacques Tourneur's Cat People (1942); Tex Avery's Magical Maestro (1952), a short MGM cartoon; and Ridley Scott's Blade Runner (1982); four, if you count Orson Welles' Touch ofEvi1(1958). -Michael Klossner This summer, Hearts and Minds, an original Star Trek: Deep Space Nine miniseries starts with a bang. A KJingon ship has been destroyed in the Gamma Quadrant and the KJingons are blaming it on the Cardassians! It's up to Commander Benjamin Sisko to hold off the temperaments of the two races until help from the Federation can arrive. Beginning with issue no. 9, it all explodes this spring in a special addition to the regular series. The April 1994 issue of Star Trek: Deep Space Nine will come complete with a brief four-page introduction to the upcoming miniseries. 43


SFRA Renew'209, January/February 1994 Hearts and Minds is a first in a short series of miniseries coming from the Star Trek: Deep Space Nine line and Malibu Comics. -Malibu Comics Entertainment, Inc. Long time fan, critic, and reviewer of Star Trek, Mark Altman has switched gears and written a special four-part miniseries of Star Trek: Deep Space Nine comics. His story, Hearts and Minds, will be separate from the regular series and marks his debut into comic books. Altman is no stranger to Star Trek or, even more specifically, to Deep Space Nine, reviewing for the tv series in Cinefantastique. Star Trek: Deep Space Nine: Hearts and Minds will be pencilled by Rob Davis and will appear in June 1994. -Malibu Comics Entertainment, Inc. IOX8: C81TOOO 800 comic 81T 8TUOIE8 In February 1994, a new journal will appear. INKS: Cartoon and Comic Art Studies will be published by the Ohio State University Press, to be edited by the curator of the OSU Cartoon, Graphic, and Photographic Arts Research Library, the nation's largest collection of its kind. This 48-page journal filled with scholarly features, reviews, cartoons, and comics is available for three issues for $20 (individuals); $35 (institutions); $100 (patrons) [add $4 for outside U.S.]. Make checks payable to Ohio State University Press; INKS: Cartoon and Comic Art Studies; 1070 Carmack Road; Columbus, OH 43210-1002. -Neil Barron & Daryl F. Mallett RmmEIBD nEWS Coming from AnimEigo Inc. (P.O. Box 989; Wilmington, NC 28402-0989; 910/251-1850) in May 1994: Urusei Yatsura TV Volume #13: "'Lurn' ... she's cute ... she has green hair, pointed ears, fangs, and horns. She's from another planet; she flies ... she can project high-voltage electricity ... she's in love with a jerk! Urusei Yatsura TV Volume #13, this month's dose of'Lurn.' An aura of insanity ... a continuing episode in the lives of Lum, Ataru, and the Tomobiki Gang!" 44


SFRA Reriew'209, January/February 1994 Laserdisc release is Urusei Yatmra: Movie W #5: The Final Chapter. "'All's Well That Doesn't End'! The Urusei Yatsura story comes to a climax ... Lupa, yet another one of Lum's fiances, arrives on the scene, and Lum and Ataru have to repeat their game of "Tag." Ataru, to win, must say, "I love you," ... the three words he has steadfastly refused to say to Lum. Will Ataru admit his true feeling; and save the Earth? Or will his pride doom it to destruction?" -AnirnEigo Inc. anOTHER RODDEnBERRY conTROVERSY With the forthcoming Hyperion publication of Gene Roddenberry: The Myth and the Man Behind Star Trek, Star Tre/(s Number One Fan, Bjo Trimble sends a warning along with Hyperion's advertising letter, both printed below. -D.F.M. Dear ReviewerlEditor: Joel Engel's Gene Roddenberry: The Myth and the Man Behind Star Trek is the story of a man who arguably had more ambition than talent-unless you count his talent for self-promotion. According to Engel, through cleverness and subterfuge, Roddenberry made his name synonymous with the television sho ("It's not Star Trek unless I say it's Star Tre/(') that has evolved into a cultural phenomenon that rivals the cult of Elvis. In this, the first authoritative and objective biography of Roddenberry, Engel debunks the myths and explains the man. he was indeed the creator of Star Trek, Roddenberry was not a creative superstar-nor a "visionary," as he later became known. Until Star Trek, he was a television writer of modest accomplishments. When the idea of an intergalactic Wagon Train was conceived by his agent hoping to sell an idea to the networks, Roddenberry surrounded himself with talented writers and science fiction experts who would collaborate on this vision of the future. In many ways their contributions, which he never acknowledged publicly, dwarfed his own. After Star Trek went off the air, Roddenberry positioned himself as the wronged genius of the imagination, misunderstood by the cretins who run network television. He promptly proceeded to fail at every subsequent endeavor-until Star Trek: The Next Generation, which he had even less to do with than the original Star Trek For Gene Roddenberry, Engel interviewed nearly everyone associated with Roddenberry and Star Trek, including Leonard Nimoy, Robert Justman, D. C. Fontana (who also contributed the Foreword), DaVid Gerrold, Grant Tinker, Christopher Knopf, and Rick Berman, among numerous others who spoke on the record for the first time. The result is a picture of Roddenberry quite unlike the persona he presented to the public. A man who dreamed up a utopian universe free of human frailties, Roddenberry himself was beset by man: alcoholism, compulsive womanizing, and an obsessive, controlling penchant for self-promotion. Gene Roddenberry was constantly reinventing himself to be the man he thOUght his fans wanted him to be. While he never succeeded in actually 45


SFRA Revle",'209, January/February 1994 becoming that man, he successfully built a reputation that precedes him to this day. Joel Engel is an entertainment journalist who covers Hollywood regularly for The New York Times. He is also the author of Rod Serling: The Dreams and Mghtmares of Life in the Twihght Zone. Greetings! -All best regards, Carol Perfumo, Publicity Manager Hyperion Books The reason for this mailing is to share the enclosed amazing Publicity Release from Hyperion Books, bragging about the sensationalist "supermarket tabloid" quality of Gene Roddenberry: The Myth and the Man Behind Star Trek by Joel Engel. It's hard to believe this publishing company is a Disney subsidiary! I was was going to send this release without comment, but after serious thought-and a growing sense of anger-I felt some comment should be made, from our own experiences with Joel Engel. Don't mistake Gene Roddenberry: The Myth and the Man Behind Star Trek with the truly authorized biography being written by David Alexander, to be published by Penguin. Gene Roddenberry personally selected David as his biographer, asking that he write a "warts and all" book. From the bits I've read, David is keeping that promise. Gene was indeed a flawed human being, but a remarkably creative man who gave us something worth admiring. Joel Engel called our house and talked to my husband, John, who thought he was researching for David. Engel assured John that he admired Gene and was only trying to do an in-depth book. John told him a couple of harmless anecdotes, but it became obvious Engel had no interest in showing GR in a good light. Engel probed our business dealings with GR, when we set up Lincoln Enterprises for him. Engel tried to get John to say that the entire mail order business had been the Trimble's idea and that GR had stolen it from us. John said no-that Lincoln was GR's idea, but he needed our mail order business expertise. Engel had found some letters and memos in GR's files at UCLA and kept harping on what caused us to leave Lincoln, and finally told John that he wanted all the dirt. John said our business was private, that we had differences and that was that. After that call, John decided a point needed clarification and called Engel back. John says those were the two times he talked to Engel. Later, when Engel called me to complain about my negative SpaceTime Continuum comments about him, he ciaimed that he talked to John "four or 5ve timeS' and that he had tapes of those conversations. I asked for copies of those tapes-it's a sure bet they don't exist! Engel called me at least four times, at first with his "Gene was a fine man" routine, but probing our Lincoln Enterprises experience. Now, if I'd been willing to share this with the world, I'd have long ago done it myself. Business dealings are private. Engel said he had memos that he was going to publish anyway. I said the Trimbles did not want to be in his book, so he quoted the First Amendment to me (this evidently did not apply to me as editor of STC0. He said he could say anything he wanted to about GR since GR was dead, and he would prove to fans that GR was not a saint. I said fans were pretty sure GR wasn't one, but Engel insisted he would prove what scum 46


SFRA Rene .... 209, January/February 1994 GR really was. After that phone call, he tried several other times to get an interview from me. I later gave all my information to David Alexander, but it was a very small and unimportant incident in a very life. Sadly, several people with deep grudges have Jumped on the chance to present their own perception of past events, now that GR cannot defend himself. I have read some of the pages-conversations are recalled with amazing accuracy, always putting GR in the worst possible light. Descriptive adjectives are used in the finest tabloid tradition to heighten and embellish what ordinarily would have been a passing incident, but which can now be used to make GR look bad. Common happening<; are made to sound particularly sinister. Not everyone interviewed knew Engel was doing a hatchet-job, but quite innocently gave information. Some thought Engel was doiI?-g research for David Alexander; a mistaken notion that Engel did not clarity. -Bjo Trimble, Editor SpaceTime Continuum The split between humanists and scientists will be bridged in a series of discussions mediated by science fiction writers. The project is organized by The Center for Bibliographic Studies at The University of California, Riverside, and supported by a recent $10,000 grant from The California Council for the Humanities. "The World, the F1esh, and the Devil: Dialogues on Science and the Humanities" will be held in both Northern and Southern California next fall. At each location, humanists will visit the scientists in a laboratory setting for the discussions. The principal investigator for the project is Dr. George E. Slusser, UCR professor of comparative literature. He is also the curator of The J. Uoyd Eaton Collection of Science Fiction and Fantasy Literature, the world's largest cataloged collection of such materials in institutional hands in the world, housed in The Tomas Rivera Library at UCR, and a Pilgrim Award winner. Slusser will be aided by Dr. Gregory Benford. a science fiction writer and professor of physics at The University of California, Irvine; and Dr. Joseph Miller, professor of neurobiology at Stanford University. "These two worlds never meet. They never talk," Slusser said. "That's the idea here-to set up some sort of reasoned discourse." The title for the dialogue was chosen from a 1929 J. D. Bernal essay in which he discussed three limitations of humans: the world, or the phYSical environment; the flesh, or the body; and the Devil, or the human mind divided against itself. Based on the same framework, three topics will be addressed at each of the two locations: the physical environment, the body and the mind or ethics. Each of the three discussions will be carried out by a humanist and a scientist, with a science fiction writer as a mediator. Science fiction writers are the natural bridge between the two, Slusser said. "A science fiction writer is the type of person who has communication skills as well as scientific expertise," Slusser said. "A lot of the issues are 47


SFRA Revlev.209, January/February 1994 already being mediated by science fiction. For example, look at Jurassic Park and the issue of cloning, or for the issue of virtual reality, 111e Terminator." For more information, contact Dr. George E. Slusser; J. Uoyd Eaton Collection; Tomas Rivera library; University of Califomia, Riverside; Riverside, CA 92521; 909/787-3233 or 3398. 48 -Beth Gaston, Campus News University of California, Riverside


SFRA Rene .. 1209, January/February 1994 FEATURE ARTICLE AmAZInB STORIES: SCIEnCE FICTIOn AnD SCIEnCE FACT In nEW mEXICO In what may be an apocryphal statement. Tony Hillerman. who is New Mexico's best-known author of popular fiction. is said to have quipped that the state has more writers than readers. Commenting on the same phenomenon. NellllSweek recently ran an article on the "new literary West." noting that Albuquerque. Portland. and all of Montana have too many authors.l Indignation and local pride elicited a prompt response in The Albuquerque Journal. which quoted several resident writers on the impossibility of their city having too many.2 There are some thing; you just can't have too much of. like writers and chocolate. Of course. when you're surrounded by literary genius. it may be easy to become blase about the whole thing. Take the related genres of science fiction and fantasy as an example. In her introduction to A Vel}' Large Array (1987). Melinda Snodgrass asks what she calls a trivia question: "What state contains nine Hugos. six Nebulas. six Balrog;. one Prix Apollo. one Campbell Award. one British Fantasy Society Award. one Prometheus. one Science Fiction Hall of Fame [Inductee]. one Pilgrim Award. one First Prize in the Writers of the Future Contest. and one Grand Master?"3 New Mexico. of course. is the answer. The list is now even longer; for example. Suzy McKee Charnas added a 1990 Hug04 to the Nebula included in the catalog above. This isn't surprising. since the state can lay claim to current. former. or part-time residents like Terry Boren. Suzy McKee Charnas. Stephen R. Donaldson. George R R Martin. Victor Milan. John J. Miller. Ashley McConnell. John Maddox Roberts. Fred Saberhagen. Melinda M. Snodgrass. Martha Soukup. Steven Spielberg. Sheri Tepper. Robert E. Vardeman. Walter Jon Williams. Jack Williamson. and Roger Zelazny. Perhaps there is some truth to Tony Hillerman's remark after all. And. at least in the Albuquerque area. where about half of New Mexico's sparse population is concentrated. a dealer in all these categories reports that science fiction and fantasy novels are extremely popular. rivaling the romance, mystery. and western genres in sales. s One could go on to ask. "What state contains not one. but two national laboratories. one in Los Alamos and the other in Albuquerque; was the home of the Manhattan Project. which developed the atomic bomb first 49


SFRA Renew '209, January/February 1994 detonated at the Trinity Site near Alamogordo; and is the location of the illstarred Waste Isolation Pilot Project near Carlsbad? What state has the largest number of Ph.D.s per capita in the nation? (Since the same claim is sometimes also made, alas, for other areas like the Research Triangle in North Carolina, we'll have to take this one with a grain or two of salt.) Who hosts the Very Large Array of radio telescopes, which was featured in the opening scenes of the movie 2010; and ranks in the top thirteen states for UFO sightings?b Would you believe that the same large western state boasts the Goddard Museum in Roswell, the Space Hall of Fame in Alamogordo, and the Atomic Museum in Albuquerque? Or that its White Sands was a secondary landing site for NASA space shuttles, and that a moon-walking astronaut later became one of its U.S. Senators? (Extra credit if you guessed Harrison" Jack" Schmidt.) What state hosts an annual science fiction conference called the Bubonicon, a blackly humorous recognition of the fact that bubonic plague is endemic there ("Land of the Flea, Home of the Plague" is a popular slogan on t-shirts and bumper stickers); and has two important library collections of science fiction literature? Again, the answer is New Mexico, where science fiction and science fact are ordinary parts of everyday life. Is it the landscape, which has an alien quality that makes it the perfect setting for movies like The Man MJo FeU to Earth? The clear, crisp blue sky? Or could it be our beloved green chile or even something in the water like, yuck!, radiation? How about the simple fact of safety in numbers,7 of like calling to like? It seems plausible that New Mexico's cultural diversity might also be a factor; the retention of distinct Native American, Hispanic, and Anglo traditions yields a setting where one can mingle daily with people, languages and cultures very different from one's own. Perhaps this is as near as is possible to come to a close encounter of the third kind without actually meeting the space ship. Whatever the reasons, New Mexico, a large state with a small population, boasts a venerable literary tradition reaching beyond D. H. Lawrence to Lew Wallace (yes, Ben-Hur), a large number of science fiction writers, a highly visible scientific community, and two research collections of science fiction. The larger and better-known of the two is The Jack Williamson Science Fiction Library, housed in The Golden Library of Eastern New Mexico University in Portales. The collection began with gifts from Jack Williamson, who is said to have written more science fiction stories than anyone else now living,S and has grown to over 18,000 items. It is a depository of both The Science Fiction Writers of America and The Science Fiction Oral History Association, and also continues to receive gifts from Williamson. It contains books, personal papers and manuscripts, and pulp magazines. Of particular interest are the classic editions of books, as well as the files of AnaJogfor 1954-75, which include the copyedited manuscripts of many of the magazine's authors.9 The dark horse of the two collections is The Day Science Fiction Collection in The Zimmerman Library's Department of Special Collections at 50


SFRA Revle" '209, January/February 1994 The University of New Mexico at Albuquerque. Both editions of Donald B. Day's classic Index to the Science Fiction Magazines, 1926-19S()lo have been praised as "a monumental piece of work. .. it is the essential reference to SF magazines before 1950:11 "absolutely invaluable to any science-fiction writer or fan," 12 "one of the most essential tools for any researcher,"13 and similar sentiments. Yet, hardly anyone14 mentions that Day's personal collection of the ahnost 1,300 issues of roughly fifty different American and British science fiction pulp magazines, plus his orir),nal index of about 20,000 cards arranged by author and title, is and his correspondence with publishers were purchased by UNM around 1973. It includes impressive runs of such classic pulps as Amazing Stones, Astounding Science-Fiction, Astounding Stones, and 1JJriUing Wonder Stones. It is an invaluable collection for the study of the early days of modern science fiction which is, as we all know, just about everybody's favorite leisure reading. And the garish and sometimes lurid cover illustrations are worth the price of admission all by themselves. Speaking of research, here's a tip for the curious and ambitious: Suzy McKee Charnas suggests that the marr),nal status which science fiction writers occupy within the mainstream literary establishment is due to the genre's long association with pulp fiction of poor literary quality, 16 the same pulps housed in this marvelous collection. A study of Charnas' observation could usefully begin with this material. The Williamson Collection at ENMU is active and continues to grow by leaps and bounds, about 200 items a year,l7 The University of New Mexico General Library is not currently adding science fiction pulp magazines to The Day Collection, but it does zealously collect popular fiction written by New Mexicans. This includes mystery and detective fiction, romances, and westerns, as well as the related science fictionlfantasy/horror group. Who are some of the New Mexico writers whose works are going into the libraries of these two universities? Even in a highly selective list like this, pride of place must be given to Jack Williamson, the elder statesman of the New Mexico contingent and certainly the most honored. Since his arrival in the eastern part of the state in 1915, via covered wagon no less, he has not strayed far from the Uano Estacado, or Staked Plains. Encouraged by John W. Campbell Jr., his long writing career includes such works as The Humanoids, The Legion of Space and its sequels; his autobiography, Wonders Child, and a multitude of short stories, some of which were co-written with James Gunrt and/or Frederik Pohl. The coveted Grand Master Award was given to him in 1976 by the Science Fiction Writers of America, the year after Robert A. Heinlein won the initial award. Williamson has devoted much of his life to the teaching of science fiction literature at ENMU in the small town of Portales, where both his name and his collection are revered. is A "New Wave" writer and award-winner with a long pre-New Mexico career, Roger Zelazny has chosen the City Different-that's what Santa Fe modestly, but with a great deal of truth, calls itself-as his abode. Spectacular views of the Sangre de Cristo Mountains, art galleries, and tourists are ahnost 51


SFRA Review '209, January/February 1994 beyond count, and elements of Native American beliefs provide an appropriate setting for his ChromCles of Amber series. These themes are also intermingled in Eye of Cat, whose hero, William Blackhorse Singer, is the last Navajo left on Earth in the future. Recent titles include Bring Me the Head of Prince Charmingand Rare. Stephen R Donaldson burst into the literary world with his epic fantasy trilogy, The ChromCles of Thomas Covenant the Unbeliever. In 1979, he was awarded The John W. Campbell Jr. Award for Best New Writer. His work is often compared to J. R R Tolkien's Lord of the which may have acted to limit him to the subgenre of fantasy. However, he has written several mysteries under the name of Reed Stephens; The Man Mlo Killed H$ Brother and The Man Mlo &ked H$ Partner are examples. George R R Martin, winner of both Hugo and Nebula Awards, is another Santa Fe resident. In addition to his novels Dying of the Light, A Song for Lydia, and Tuf VOJl8gmg; he has written scripts for the television show Star Trek and produced the series Beauty and the Beast. He also edits, with Melinda Snodgrass, the Wild Cards senes of science fiction short stories. The eleventh volume, Dealer's Choice, contains stories by Martin and fellow New Mexicans John J. Miller and Walter Jon Williams, while the twelfth is a novel called Turn of the Cards by yet another New Mexican, Victor Milan. Traditional gender barriers are falling in the world of fiction, as they are in many other fields. Men are now writing romance novels and women are writing science fiction; some of them also call New Mexico home. Albuquerque writer Suzy McKee Charnas is the author of The Vampire Tapestry, which has generated a play called "Vampire Dreams," and the Hugo-winning story "Boobs." Her strong feminist themes have caused considerable controversy. For example, Walk to the End of the World depicts a world where misogyny has triumphed and women are degraded slaves; Motherlines reverses this picture and describes all-female societies with no men at all. She plans to conclude the series with a further exploration of the war between men and women. "Scorched Supper on New Niger," a short story written at the behest of George Martin, derives its strong female characters from Charnas' own observations while serving with the Peace Corps in Nigeria.19 By coincidence, or perhaps not, this parallels the centuries-old tradition of high status for women in prehistoric Anasazi and contemporary Pueblo Indian culture in the Southwest. Santa Fean Sheri Tepper has a literary split personality. Writing science fiction and fantasy as Sheri Tepper, she has published several novels including the recent Beauty, which explores the ecological and nature themes which are so important to her personally. Grass, Ra$ing the Stones, and Sideshow form a loosely related trilogy which explore religion and feature strong female characters. She also writes horror as E. E. Horlak and mysteries as both A. J. Orde and B. J. Oliphant. As the latter, she won an Edgar Award nomination (the mystery field's equivalent of a Nebula Award) for Dead in the Scrub, the first of a series featuring Shirley McClintock as a tough-minded, nature-loving Colorado rancher. The fourth and latest in that series, Death and the Delinquent, bring; McClintock to New Mexico, where she promptly 52


SFRA Revielrf209. January/February 1994 falls victim to our penchant for shooting anything that moves. Tepper feels that it's easier and more fun to write mysteries than science fiction, but she prefers "speculative fiction because it throws new light on the human condition. "20 New and upcoming authors include Ashley McConnell who, despite the handicap of working full-time, has just sold her fifth book. The first two, Unearthed and Days of the Dead, fall into the horror category. Quantum Leap: The Novel, a spin-off from the popular television show, is her first science fiction novel; several more have followed. An interesting example of the technological background of many science fiction writers is that for job related reasons, she has learned to fire a sniper rifle and a grenade launcher. Encouraged to begin writing science fiction by friends Victor Milan and George Martin around 1980, Melinda Snodgrass now now has over seventeen novels and has sold one of them, Circwt, to Fox as a television pilot script. A former Albuquerque lawyer, her very first script for Star Trek: The Next Generation was a courtroom story called The Measure of a Man. It was nominated for the Outstanding Achievement Award by The Writers Guild of America, and won her the job of Story Editor for the series. She has edited, with Martin, the prolific series of Wild Cards shared-world anthologies. A Very Large Array; a wonderful collection of stories by New Mexico science fiction and fantasy writers, is another editing venture. When not in Hollywood, Snodgrass breeds Arabian horses in Albuquerque. She was able to work her love ofthis breed into the Star Trekepisode called Pen Pals.21 Speaking of Star Trek, Robert E. Vardeman of Albuquerque wrote The KJingon Gambit and Mutinyon the Enterprise, which are still in print after rougly ten years, as well as about 100 other books, includin& science fiction, fantasy, westerns, and suspense. His large number of publications mayor may not be related to the fact that he suffers from insomnia, a problem which is somewhat mitigated by the tendency of his cat Neutron to act as a furry white noise machine. With degrees in Physics and Engineering from The University of New Mexico, Vardeman achieved nirvana by becoming a full-time writer after only four years' employment at Sandia National Laboratories. He was nominated for a Hugo in 1972. Fred Saberhagen came to Albuquerque from Chicago after working in electronics for Motorola. He began writing m the science fiction and horror genre in 1973. Most of his works concentrate on series and continuing characters, and he is best-known for the Berserker series, which pits Man against machines. Drawing on fantasy characters, Saberhagen retold the Dracula story in a series of four loosely related novels, and he also redrew Mary Shelley's Frankenstein in The Frankenstein Papers. A Question of Time was published in 1992. John Maddox Roberts has taken up the further adventures of Conan, first immortalized by Robert E. Howard in the 1950s. Conan the Champion, Conan the Valorous, and Conan the Marauder are examples of Roberts' work. In addition to the Conan series and traditional science fiction, Roberts has produced the SPQR mysteries which have an unusual sening, that of the twilight of the Republic of Rome. In an attempt, perhaps, to add a note of versirnilitude to his stories, Roberts has turned his hand to fencing, according to sometimes-partner Bob Vardeman. 53


SFRA Revle",'209, January/February 1994 Walter Jon Williams, yet another Albuquerque author, came to science fiction writing via historical novels, thrillers, and sea stories. But he prefers the freedom and variety of science fiction, which has allowed him to pursue several different themes: Anthropology in Ambassador of Progress; a positive future in Knight Moves, there's Hardwired" in which everything goes wrong in the future; a mystery-thriller-espionage book called Voice of the Whirlwind; The Crown Jewels is a comedy; and the idea of the frontier in Angel Station. A highly successful book is the gothic-western-science fiction mystery Days of Atonement, which is unusual in that it was not only written in New Mexico, but is also set in New Mexico. The small mining town of Atocha is, in the twenty-first century, much like many New Mexico towns of today; that is, rather like other American towns were in the nineteenth century. To write the book, he decided to treat New Mexico the way a science fiction writer would treat another planet. As he says, "New Mexico is a place that is far more alien than most alien planets in science fiction stories. "22 Another attachment to Hollywood is represented in Santa Fe byonetime resident Steven Spielberg. Who can forget the enormously successful movie E T.: The Extraterrestrial and the well-done but short-lived revival of The Twilight Zone on television? Hollywood and motion pictures have long been enamored of science fiction plots, and New Mexico authors keep the ideas and scripts coming. Victor Milan is an author who is as interesting as his characters. In the introduction to his story "Feast of John the Baptist" in A Vel)' Large Array; he describes himself as a blond six-footer and half-Spanish, the only Hispanic included in the anthology. He exemplifies some of the contradictions common to life in New Mexico; for example, he was raised as a middle-class Anglo, but is considered a minority for census purposes.23 Even his address is unusual...Jupiter Street! Full-length works include The Cybemetic Shogun; Runespear. and Red Sands, a military thriller, as well as the previously mentioned Turn of the Cards, which is Volume XII in the Wild Cards-series. "Up-and-comers" and "neo-pros," which Melinda Snodgrass includes in A Vel)' Large Array are Martha Soukup, a recent immigrant from San Francisco who succumbed to the lure of New Mexico after attending a writer's workshop in Taos; John J. Miller, who has no desire to live anywhere else and has too many books and cats to move even if he did; and Terry Boren, who was born in New Mexico and learned early that it is a wonderful place for stargazing and looking closely at thing;.24 Harry Wilson is a real mystery man. Look at a map of New Mexico and draw an imaginary line across the central part of the state (if it's your map, you can draw a real one). In the west, on the Plains of St. Augustin, you will locate the Very Large Array where radio waves reach toward the stars, probing the limits of the universe and searching for other forms of life. Farther east, across the Rio Grande, you will see the Trinity Site right in the middle of nowhere, which is an appropriate location for Mankind to have taken what may be the first step in its own destruction. Midway between the two, you will find the picturesque Bosque del Apache National Wildlife Refuge, a haven for birds flying south for the winter months. Between the sites devoted to space exploration and atom bombs, thousands of Canadian geese, great blue herons, sandhill cranes and 54


SFRA Rene .... 209, January/February 1994 their larger whooping crane foster children, and dozens of other species of water fowl and song birds sedately while away the winter-safe in the warm New Mexico sun. (Another t-shirt reads, "New Mexico winters are for the birds.") In this, and many other ways, New Mexico is a land of dichotomies and contradictions, where the dynamic tension of such irreconcilable opposites helps to foster a dynamic literary community. Writers live in New Mexico for a variety of reasons ranging from the extraordinary climate and the legendary landscape, to the stimulation and support provided by a large group of other active writers, to cultural diversity, to chance, choice, serendipity, and inertia. While creators of science fiction and fantasy can set their tales in any time, any place, and any universe, an impressively large number of both established and aspiring writers also choose New Mexico as the setting for their personal lives. If you have your choice of place to live, asks Vardeman, "Why wouldn't you want to live here?"25 And so, science fiction and science fact continue to weave themselves into a rich and unique tapestry in New Mexico, as scientists in top-secret laboratories create and refine the technology of the future and science fiction writers collect ever-larger audiences for their explorations of worlds where technology and Humanity interact in strange new ways. -Carol Joiner, Marilyn Fletcher, and Linda Lewis 1. Jones, Malcolm Jr., et. a1 "Don't Fence Them Out," in Newsweek 13 (July 1992): 54. 2. Brewer, Steve. "Go West, Young Writer! On Second Thought, Maybe We Don't Have Room for You," in Albuquerque Journal 21 (July 1992): 1-2(8). 3. Snodgrass, Melinda M., ed. A Very Large Array: New Mexico Science Fiction and Fantasy. Albuquerque: University of New Mexico Press, 1987, p. 1. 4. Brown, Charles N. & William G. Contento. Science Fiction, Fantasy, & Horror, 1990: A Comprehensive Bibhography of Books and Short FictJon Published in the English Language. Oakland: Locus Press, 1991, p. 566. 5. Mackler, Tasha. "Purveyor, Murder Unlimited." Albuquerque: Interview by Carol Joiner, November 5, 1992. 6. Deem, James M. How to Catch a Flying Saucer. Boston: Houghton Mifflin, 1991, p. 123. 7. Hurley, Joanna. "Beyond the Mainstream: Sci-Fi Writers and Artists Stretch Umits, Find Albuquerque," in Albuquerque Living Vol. 4:7 (June 1986): 29. 8. Ibid. 9. Barron, Neil, ed. Anatomy of Wonder: A Critical Gwde to Science FictJon. New York: R R Bowker Co., 1987, p. 746. 55


SFRA RerieIF'209, January/February 1994 10. Day, Donald B. Index to the Science Fiction Magazines, 1926-1950. Portland: Perri Press, 1952; Boston: G. K. Hall, 1982. 11. Chow, Dan. "LoCllS Looks at More Books," in LoCllS Vol. 15:12 (December 1982): 10. 12. de Camp, L. Sprague. "Readin' and Writhin': Book Reviews," in Science Fiction QuarterlyVol. 2:4 (August 1953): 74. 13. Nicholls, Peter, ed. The Encyclopedia of Science Fiction: An IUllStrated A to Z. London: Granada, 1979, p. 156. 14. An exception is Barron, p. 746. 15. Miller, P. Schuyler. "The Reference library," in Astounding Science Fiction Vol. 49:4 (June 1952): 163; Miller, P. Schuyler. "The Reference library," in Astounding Science-Fiction Vol. 51: 1 (March 1953): 158. 16. Hurley, p. 29. 17. Barron, p. 746. 18. Williamson, Jack. Child: My life in Science Fiction. New York: BluejayBooks, 1984. 19. "Suzy McKee Charnas: Entering a New State," in LoCllS Vol. 25:5 (May 1990): 7, 65; Charnas, Suzy McKee. "Introduction," in Choice Monthly no. 29, p. 2-5; "Suzy McKee Charnas: Functional Schizophrenia," in LoCllSVOI. 29:3 (September 1992): 4,80. 20. "Sheri Tepper: Aspiring Up," in LoCllSVol. 27:2 (August 1991): 4,69. 21. "People & Publishing," in LocllS Vol. 29:3 (September 1992): 9; Chavez, Charlene. "Alumni Profile: Career Trek," in Mirage (Fall 1990): 28; Chrissinger, Craig W. "Cinderella Story," in Starlogno. 147 (October 1989): 38, 42. 22. Reed, Ollie Jr. "He Finds New Mexico Right for Alien Setting." in The Albuquerque Tnbune (April 9, 1991): 3(C); "Walter Jon Williams: Too Wild & Imaginative," in LocllSVol. 24:5 (May 1990): 7,65. 23. Milan, Victor. "Feast of John the Baptist," in A Very Large Array: New Mexico Science Fiction and Fantasy, edited by Melinda M. Snodgrass. Albuquerque: University ofNew Mexico Press, 1987, p. 209-216. 24. Snodgrass, p. 218, 225. 144-145. 25. Hurley, p. 30. 56


SFRA Rene.f209. January/February 1994 FEATURE REVlE\IV Coblentz, Stanton A & Jeffrey M. Elliot. Adventures of a Freelancer: 171e Literary Exploits and Autobiography of Stanton A Coblentz. San Bernardino, CA: The Borgo Press, 1993, cloth, $ .00; ISBN 0-89370-338-9; paper, $ .00; ISBN 0-89370-438-5. BoRGO BIOVIEWS #2. Science fiction novelist and poet Stanton A Coblentz (1896-1982) was a literary time-traveler. He was a nineteenth century man-of-letters-urbane, eclectic, versatile-at odds with that stifling twentieth century specialization that stuffs contemporary writers into this or that pigeonhole. Coblentz didn't fit the available slots, so was sloughed off by the age of modernity. After all, he was something of a Victorian minor poet in his rhyme-and-metre style. Worse, he was cosmic and imaginative, suffocated by the existential, highly introverted and self-conscious poetry that has prevailed from the 1920s forward. His poetry editing magazine, plus numerous anthologies) was likewise ignored by the establishment. He was also a pioneer sCIence fiction novelist (171e Wonder Stick, When the Birds Fly South, 171e Sunken World: A Romance of Adantis, etc.), as well as a flexible nonfiction author (works on war, California vigilantes, and Man's persisting barbarism). Coblentz has told his story before (My life .ri1 Poetry, 1959), so this final version reprises much of that subject matter. He was born in San Francisco-and the Earthquake of 1906 was a boyhood event of possibly profound impact. Though young Stanton did not seemed scared nor horrified, the disaster may well have influenced him, as an image of destruction such as a World War might wreak. Armageddon was one of his poetic obsessions. Coblentz's emerging verses might have typed him as a "California romantic," in the tradition established, however sloppily, by doggeralist Joaquin Miller. Ambrose Bierce had solidified it with essays and verse of his own-while tutoring his protege George Sterling to be as cosmic as possible, starting with 171e Testimony of the SWlS (1903), a major science fiction poem. Coblentz wrote "George Sterling: A Western Phenomenon" (ArIZona Quarterly. Vol. 13 (Spring 1957): 54-60). out of awe and possible envy that sterling had managed to live as a full-time poet (thanks to rich patrons and local fame). But Sterling committed suicide. Like his own Oark Ashton Smith-fantasy and horror poet, and fantasy, science fiCtion, and horror fiction writer-.:..sterling shunned nonfiction. freelance opportunities. That both careers withered. and Coblentz's did not, makes some sort of professional statement. That Sterling and Smith are better respected may make some sort of artistic rejoinder. Coblentz, after publishing his first poems in 171e New York Times and 171e San Francisco Chronicle in 1918, almost simultaneously fell into the opportunity (or trap!) of reviewing books. Immediately, his horizons 57


SFRA Renew'209, January/February 1994 broadened. With his M.A. degree in English literature. he ended up in New York City. discovering that "the game of a literary freelancer is a guessing contest...a gamble in which the player reaches blindfolded for a few potential winning cards hidden among a pack of losers." Coblentz managed to edit a poetry anthology-which turned up reprinted without any royalties to him (the company legally sold the rights). Coblentz chafed at this mishap. as he did when one of his early books netted an unkind review in The New York Times and its sales slumped (these days. being attacked in The Times is a success symptom!). Meanwhile. Coblentz began writing science fiction-his novel. The Sunken World. appeared in Amazing Stories in 1928. Other stories appeared in Amazing and Wonder Stories. typified by "fascinating descriptIons but cardboard characters." according to John Qute in his The Encyclopedia of Science Fiction. edited with Peter Nicholls (1993). By 1933. Coblentz had retreated to Mill Valley. California. having found New York City during the Depression. simply depressing. Here. he launched his poetry magazine. A Quarterly of VeJ3'e. which ran until 1960. It preserved rhymed-and-metred verse. while railing in its editorials and book reviews against the modem "age. which has tended to reject music and to make poetry as uninspiring as a cement mixer and as unclear as a smoggy day." He founded Wings Press. which published the second verse collection of Thomas Burnett Swann. and Moondust (1956). His mainstream anthology. Unseen (1949). did for lighter. ethereal fantasy poetry. what August Derleths Dark of the Moon (1947) did for the macabre. Both books traverse the centuries. with a poetry knowledge possessed by few scholars today. Unseen like several Coblentz nonfiction books. deserves at least university press reprinting. Coblentz was briefly slurred by poet Randall Jarrell-and. as usual. struck back. One of the secrets to Coblentz's mainstream failure--exemplified in this narrative-was his self-righteousness. Here. he contrasts with his English counterpart John Gawsworth (1912-1970). who--as a fantasy and horror advocate and editor-was a sort of British August Derleth. And. like Coblentz. was a diehard zealot for traditional poetry. But Gawsworth. a drunk who got along better with conventional publishers than did sober Coblentz. found it expedient to be friendly with modernists like Dylan Thomas. Hence. while Gawsworth has occasional token. faint-praise acknowledgements in reference works. Coblentz is almost totally boycotted. With his education and nonfiction skill. he could have certainly ingratiated himself to the academic establishment. But Coblentz-who always looked like a professor in his photographs-preferred to write sophomoric diatribes like the hilarious The Rise of the (1955). Coblentz and Gawsworth at least deserve remembrance as the leading. nineteenth century poetry voices. crying out in the deaf twentieth century wasteland-wilderness. Coblentz's place in science fiction poetry is acknowledged in the forthcoming fourth edition of Neil Barron's Anatomy of Wonder (1994). and this autobiography places into more permanent perspective. Earlier. Dr. Elliot caught him for an interview .. .just in time (Fantasy Newsletter No. 29. October 1980). The best of Coblentz's poetry deserves to endure .. .for example: 58 "The Atom Takes Command" Helpless before our own defense we stand. Turned by our strength into a cowering band. For he whose weapon is the cosmic flame


STRA Renew '209, January/February 1994 Needs cosmic wisdom to direct his aim, Or stumbles, smitten by his own blind hand. -Steve Eng 59


COl..o"FERESCE DIRECTORS: EUZABETB ANNE HULL, Pa.D, LiberaJ Am Division William Rainey Harper College. Palatioe.lL 60067 (708)925.0323 BEVERLY FRIEND, m.o. Oakton Community College. [ks Plaines. n.60016 (708)-035 FAX:(708)635 email: frieod@oal., SCIENCE FICTION RESEARCH ASSOCIATION Annual Conference July 7-1 D, I 994,Arlingron Heights,lL IOMay 1994 De:Lt Colleagues aDd Friends: Here is your copy of the preliminary program of main events for SFRA-2S. along with a registration form andhmel reservation card. If you ilre arriving al O'Hare. be sure to request the courtesy C:ll' to the hotel. which has changed its name to the Arlington Park Hilton. Those who Want to participate in tlle optional excursion to Medieval Times Friday evening to see the fine horsemanship and jousting (llnd dine 00 a game bird with your fingers) MUST reserve by June 20. Additional tickets for the PilgrimIPiooeer Awards Banquet Sarurday evening can be purchased @ S35 per guest. Program panicipaots have been asked to bring additional copies of their papers to accommodate conflictS c:J.usc:d by multiple uxk progr:uning. We are making am..Dgemeots to videotape panel discussions and auLhon reading so that those who want to attend paper discussions will be able to obtain copies of these sessions from the Science Fiction Oral History Association. All attendees are inviled 10 briDg 30 copies of a current sf syllabus (or an exchange of course outlines. Many novels will be available for those who want to purchase books by the attending authors (and get them autographed). Eisenstein is assembling ilspecial an show: we'll have a (uodraisiog drawiog for a group of books donated by Illinois authors and our atteoding authors to support our nc:ed.y international scholars; and we're working on olher wonderful surprises. Please let us know if you have special needs (vegetarian or olherwise restricted banquet meal. wheelchair access. etc.). We want everyone to enjoy conference fully! r------------------------------------------, I ScIENCE FICTION RaEAOCI-I ASSOCIATION July 7, 1m Annual Conference: ArlJn&lon HI.$. n.. I I Reg:istr:l.uoa:SlIS_uaulJuneIO(SlJOafttr)_ I I I I ""'" I I I I I I I I I I GO' S.... Zlp I I Businoess( [ I I I Harper CuUtee Palatine. IL 60067. I


SFRA Revle ... '209, January/February 1994 NDNFICTIDN REVlElNB Galbraith, Stuart IV. Japanese Science Fiction, Fantasy and Horror Films: A Oitical Analysis of 103 Features Released in the Umted States, 1950-1992. Jefferson, NC: McFarland, 1994, 424 p., cloth, $45.00; ISBN 0-8995-0853-7. Although he discusses a few art films by some of Japan's most celebrated directors-Akira Kurosawa's Rashomon (1950), Throne of Blood (1957), and Akira Kurosawa's Dreams (1990); Kenji Mizoguchi's Ugetsu (1953); Masaki Kobayashi's Kwaidan (1964); and Kaneto Shindo's Ombaba (1964)Galbraith's main interest is the dozens of keiju eiga, the giant monster films which began with Ishiro Honda's Gojira (1954; also known as GodziUa, King of the Monsters). According to Galbraith, in Japan, art films, mainstream films, B-movies, and children's films are often made by the same filmmakers, while in America these categories are the work of specialists who rarely interact. Thus, Gojira and Kurosawa's acclaimed Seven Samurai were Toho Studios' two big-budget films of 1954. Honda worked as assistant director or associate producer on several Kurosawa films. Veteran actor Takesha Shimura worked in twenty Kurosawa films and at least eight monster or SF movies. Galbraith uncovers many other examples of key personnel dividing their time between films which, in America, would be considered high art and low shlock. Explaining why the Japanese take the kaiju eiga seriously, Galbraith notes, "in Japan, the so-called realism of a film's story and special effects mattered little, so long as the story was worth telling and the special effects work was visually appealing." As often as possible, Galbraith viewed both the Japanese and U.S. versions of a film. He found that many serious monster were butchered by U.S. distributors, who often made no distinction between movies made for adults and those aimed at children. Many films were turned into camp comedies by American Sometimes inept additional footage was added by Americans. Keiju elga films look much better on theater screens than on television, where most Americans have seen them. Many were made in wide-screen format and lose half their images on tv. The heyday of the kaiju eiga was from 1954 to the mid-1960s. Galbraith feels that the scripts and especially the special effects of the monster filrns in those years compare well with most American SF films of the same period. His hero is Toho effects chief Eiji (1901-1970), the most prolific monster maker in films. Galbraith agrees WIth serious Western critics who believe that the early monsters were analogies for nuclear weapons. However, he disagrees with the anonymous annotator in Phil Hardy's Science Fiction, Second EdItion (1991, in the FILM ENCYCLOPEDIA series), who asserted that later keiju eiga films, in which friendly monsters save Mankind from evil monsters, represent an edorsement of nuclear deterrence. To Galbraith, the 61


SFRA Renew'209. January/February 1994 friendly monsters were an attempt by Toho and its inferior rival Daiei to keep a declining cycle alive by juvenilizing it. He especially deplores Gamera, Daiei's chief monster, a big flying turtle with rocket flames shooting out of its anus, nauseatingly advertised as "the friend of all the children of the world." Like most aduTts, Galbraith much prefers the early, meaner monsters, especially the fearsome Godzilla with his radioactive breath. (Toho has recently revived their top monster in a new series of films beginning with Koji Hashimoto's GodziUa 1985(1984). Galbraith covers four of these new films, but does not make an amusing point I saw in a review. The revived Godzilla is something of a 300-foot-tall architecture critic who stamps out hideous modern building; while carefully preserving Japan s beautiful traditional architecture.) Besides the six art films mentioned above, Galbraith examines forty two kaiju eiga and fifty-five other films involving aliens, ghosts, vampires, and even the Frankenstein monster. Some are interesting variations on Western film traditions, some are based on Japanese legends. Galbraith omits animated films and points out the need for a book on Japanese animation. Japan has produced over 100 animated features, more than any other country. Althou&h Galbraith speaks no Japanese, he has watched many of the films in their onginal forms. He claims he can assess an actor's performance without understanding the words being spoken. For every film, Galbraith provides a synopsis; very detailed credits; a critical assessment; career information and appraisal of directors, writers, effect artists, and leading actors; and often quotes both from mainstream U.S. critics (usually dismissive) and from three American fan magazines devoted to the giant monster filmsJapanese Fantasy Film Journal. Japanese Giants, and Markahte. The fan maWlzine writers, especially JFFJeditor Greg Shoemaker, are enthusiastic but critical, like Galbraith himself. This serious, extremely erudite survey of a too easily disdained film cycle belong; in all genre film collections. Three sources which treat the giant monster movies in much less detail should also be consulted-Hardy's Science Fiction, Donald F. Glut's Dassic Movie Monsters (I 978), and Stephen Jones' misleadingly titled IUustrated Dinosaur Movie Gwde (I 993), which covers films featuring all kinds of giant creatures. -Michael Klossner Hutching;, Peter. Hammer and Beyond: The British Horror Film. Manchester, England: Manchester University Press, distributed by St. Martin's Press, 1993, 193 p., cloth, $59.50; ISBN 0-719-03719-0; paper, $19.95; ISBN 0-719-03720-4. In A Heritage of Horror: The English Gothic Cinema, 1946-1972(1973), David Pirie wrote that Gothic horror was "the only staple cinematic myth which Britain can properly claim as its own, and which relates to it in the same way as the Western relates to America." With the exception of Dead of Night (I 946), which he considers a film without antecedents or progeny, a "false start" for British horror, all the films discussed by Hutching; were made between 1955 and 1971. They include Hammer Films' alien-invasion trilogy (The Quatermass Experiment, 1956; X the Unknown, 1956; and Quatermsss II. 1957) and several "psychological horror" films with modern settings made 62


SFRA Rerie ... '209, January/February 1994 by Hammer and rival British studios. He briefly mentions a few films of interest made since 1971, but he concludes that British horror has been largely moribund for two decades. Hutching; disagrees with Pirie on the nature of the British horror film boom. As his title indicates, Pirie regards the films as part of Britain's two century-old Gothic literary tradition. sees the same films as responses to peculiar conditions in modern Britain-to the loss of Empire and the rise of consumerism in the 1950s and to the counterculture, the generation and the women's movement in the 1960s. Gender issues are particularly unportant to his analysis. Much of Hammer and Beyond revolves around the sinister figure of Peter Cushing, one of the least sexual actors ever to achieve stardom, for his many performances as male authority figuresBaron Frankenstein, Van Helsing. Sherlock Holmes, and several repressive Victorian fathers. Hutching; offers only a little new information about the production of the much-studied Hammer films. New to me was the fact that after their first great success, The Quatermass Experiment, Hammer sent a questionnaire to theatre managers asking whether the film's SF or horror elements were responsible for its success. demonstrates the perils of "reading" a film without studying its production process when he sees narrative sipcance in a notorious scene in Frankenstein Must Be Destroyed (1970), in which Baron Frankenstein (peter Cushing) rapes the heroine. The author either does not know or fails to mention that Cushing. Terence Fisher, and actress Veronica Carlson have all told interviewers that they considered the scene completely inappropriate and out-of-character and were forced to do it by a producer whose sole motivation was the insertion of a sex scene. Hutching; knows the films thoroUghly. His use of the specialized terminology necessary for his task is never indecipherable. His conclusions are clear and usually convincing. However, I am not convinced of the usefulness of psychoanalytic studies of popular films. Diving for subtexts and coming up with conclusions such as "in earlier Hammer films, with their distinctive Oedipal qualities, such wounds functioned as symbolic castrations dealt by a father figure for the desire for a mother figure" does not seem to me as illuminating as more mundane and less disputable facts about the tactics used by filmmakers. Pirie's Heritage of Horror provides those facts and belong; in all serious film collections. book should be in larger collections where it will be enjoyed by those who appreciate psychoanalytic approaches to genre films. The House of Horror, by Alan Eyles, Robert Adkinson, and Nicholas Fry (1984), a popular history of Hammer Films, is unsophisticated but useful, especially for mterviews with Terence Fisher and Hammer executive Michael Carreras and for its many illustrations. Two recent books that study several British film genres each include a chapter on horror. in BritISh Genres: Cinema and Society. 1930-1960 (1991), Marcia Landy notes similarities between the Hammer gothics and the Gainsborough melodramas, period-set women's thrillers made between 1943 and 1947 which lacked supernatural horror but had other gothic elements. The first of them, The Man in Grey (1943), starred a young James Mason as a cruel, sardonic aristocrat not far removed from Cushing's Frankenstein. Before his Hammer films, Terence Fisher made So Long at the Fair (1950), technically not a Gainsborough but a similar women's period shocker. Robert Murphy's Sixties BritISh Cinema (1992) makes the interesting point that "there is a certain irony that directors with a flashy, obtrusive style like Tony Richardson, John Guillermin, Lee 63


SFRA Rene .. '209, January/February 1994 Thompson. and Basil Dearden became associated with social realism. while Fisher. with his precise. subtle style. should become Britain's best director of horror films." -Michael Klossner Marrero. Robert. Dracula: The Vampire Legend on Film. Key West. FL: Fantasma Books. 1992. 120 p trade paperback. $12.95; ISBN 0-96349820-7. A slightly dated (not including Bram Stoker's Dracula. directed (1993))reference work covering vampire films including the original Dracula (1931) and all its copies. Organized in chronological order from the classic Nosferatu: A Symphony of Terror (1922) to the infamous Buffy the Vampire Slayer (1992). it is loaded with black-and-white photographs of Bela Lugosi. Christopher Lee. William Marshall. Chris Sarandon. David Peel. Peter Cushing. and more! Each film title has the studio. date. and a short 100-200 word synopsis of each. There is a brief introduction. and a glossary of titles and pagmation. Another worthy fan publication. but not even close to the final word on vampire cinema. Vampire: The Complete Guide to the World of the Undead, by Manuela Dunn Mascetti. among others. is preferred. -Daryl F. Mallett Marrero. Robert. Vintage Monster Movies. Key West. FL: Fantasma Books. 1993.160 p trade paperback. $12.95; ISBN 0-9634982-1-5. Covering films from Edison's silent Frankenstein (1910) through The Creature of Destruction (1967). this book is lavishly illustrated with black-and-white photographs of Rondo Hatton. Tor Johnson. Evelyn Ankers. George Zucco. Bela Lugosi. Boris Karloff. and more. With an introduction by Monster Mogul Forry Ackerman. each movie has date. company. and a brief history and synopsis. A respectable and worthwhile research effort. mainly for an introductory look at this genre. but as with Dracula: The Vampire Legend on Film. also by Marrero. hardly definitive. -Daryl F. Mallett Shatner. William & Chris Kreski. Star Trek Memories. New York: HarperCollins Publishers Inc.. 1993. 306 p.. cloth. $22.00; ISBN 0-06017734-9. "Beginning in 1966 as something a little out of the ordinary for prime-time lV. and suffering from shaky rating; throughout its entire run. Star Trek went on to spend the better part of the next three decades exploding into a worldwide. billion-dollar industry. How did this happen? What made the show so unique that it spawned a devoted global following?" 64


SFRA Reriew'209, January/February 1994 Those questions and much more are answered in this revealing behind-the-scenes look at William Shatner's memories of the phenomenal show which, to this day, continues to inspire young scientists, writers, and dreamers into the stars. Shatner combines his stories with the writing talents of Chris Kreski (co-author of Growing Up Brady with Barry Williams and CMon Get Happy: Fear and Loathing on the Partridge Family Bus with David Cassidy). This book is incredibly insightful, telling tales of practical jokes played (mostly by Roddenberry and Shatner) on unsuspecting sods, the bad treatment of the show and its workers by the network (including the of one of the shows staunch supporters and employees), and the painful split between producers and the show. Having been a small part of the Star Trek phenomenon and seing the crew and cast hard at work on the set of Star Trek V1, I can tell you that this book will open your eyes to the business that 1V is, to the difficulty of interpersonal relationships, and more. And having written for the show, I can sympathize with the trials and tribulations of such folk as Gene Coon, Bob Justman, and Gene Roddenberry. No holds are barred, including the split between Doohan and Shatner. For Trekkies, Trekkers, SF fans, and television/entertainment historians, as well as reference libraries, it's well worth it. -Daryl F. Mallett Stein, Kevin. The Gwde to Larry M'ven's Ringworld. New York: Baen, Baen Publishing Enterprises, distributed by Paramount, February 1994, 188 p., trade paperback, $20.00; ISBN 0-671-72204-2. This reference work by Stein contains the complete RINGWORLD universe between its lavish covers. With the cover illustrated in color by award winning artist David Mattingly and the interior black-and-white illustrations done b;y Todd Cameron Hamilton and James Clouse, there is much to be found within. Broken up into sections: "Introduction to Ringworld," "History of Known Space," "Major Races of Known Space," "Aliens of Known Space," "The Ringworld," "Races of Ringworld," "Psionics," "Equipment," and a Glossary, this book gives you everything and anything you need to know about award-winning writer Niven's universe. Large-type laser-printed make it easy to read, the Glossary makes referencing easy, and the illustrations break what could become a tedious and monotonous research project. A worthy project, yet with lots of wasted white space, the book does have the feel of a consumerand collector-oriented work rather than a true research work. Unfortunate, yet a welcome addition to the reference and study of a major writer. Hopefully more will follow for Nivenosophy. -Daryl F. Mallett Wolfe, Alan. The Human Difference: Animals, Computers, and the Necessity of Social Science. Berkeley, CA: University of California Press, 1993, 260 p., cloth, $30.00; ISBN 0-520-08013-0. 65


STRA Rene .. '209, January/February 1994 Alan Wolfe is a sociologist with an axe to grind, and he makes no apologies for it. He believes Humanity is unique and deserves a unique science to study it. Argued with the intensity and skill of a defense attorney for the Human species, Wolfe takes on sociobiology, artificial intelligence research, ecology, and postmodernism. The bibliography alone provides an excellent reading list on any of these major topics. Organized into seven chapters, the middle five were based on essays previously published in academic journals. The first chapter, "A Distinct Science for a Distinct Species," introduces the argument for social science and outlines the format ofthe rest ofthe book. The second chapter, "Other Animal Species and Us," argues that sociobiology is limited in accuracy to analysis of pre-modern society. Here, Wolfe begins his argument that Humans are unique in quality of mind compared to other animals. His analysis of sociobiology's uses and limites is excellent. In the third chapter, "Mind, Self, Society, and the Computer," Wolfe continues his argument on quality of mind as uruquely Human, but circles the philosophical and biological debate of how we define mind without jumping mto it. He is willing to forego this debate and rushes straight mto the contention tha mind, "the existence of the interpretive self," is what makes Humanity unique. He concludes this chapter with a summary of his two main themes: What research into AI (artificial intelligence) seems to show is very similiar to what sociobiology inadvertently demonstrates: Both fields, originally perceived as a challenge to the notion of a humanistic subject, strengthen the notion that humans require a distinct science because they are a distinct subject. And in looking at what makes them distinct, sociobiology and artificial intelligence lead to a similar conclusion: Humans not only add culture to nature, as important as that is; they also add mind to culture. One best appreciates the powers of imagination and interpretation when confronted with a thinking machine that possess neither. Chapter Four, "Putting Nature First," picks up the analysis of the ecology movement in many of its permutations. It concludes that ecological analysis has much to contribute to analysis of the environment, but little to contribute to the understanding of the Human species. The title of the fifth chapter, "The Post-Modern Void," telegraphs Wolfe's opinion of postmodern analysis, which he writes "supplies an answer to the question of what a human society would look like in the absence of interpreting selves." Chapter Six is "Social Science as a Way of Knowing." Here, Wolfe argues that sociological study has tended to divide into two "vastly different" cultures: One relying on recent work in journal articles and modeled on the natural sciences; the other relying on books and modeled upon the humanities. He presents evidence that these distinctive academic cultures are arbitrary and should be combined. Wolfe also advocates methodological pluralism as part of a unique science for a unique species. 66


SFRA Revlew'209, January/February 1994 The final chapter summarizes the previous arguments and evidence, concluding that, indeed, the Human species is unique and deserves and demands to be studied with a unique science. Having chose sociology as my academic major, I thouAAt I had already placed my vote in Wolfe's camp. I was not sure at first wfio was an appropriate audience for this book in spite of how well wrinen it is. When I got to the last chapter, "Society on Its Own Terms," I knew that it was an ideal capstone book for graduate studies in contemporary theory. It will generate discussion. The analyses of contemporary theoretical thouAAt are accessible and well-documented, and the connections with artificiaT intelligence will make it of interest to the SF community. -8. Diane Miller [Reprinted from Great Plains Sociologist, Vol. 6:1 (1993) by permission of the author. -D.F.M.] 67


UPC CALL FOR PAPERS STSF '94 An International Workshop on SCIENCE and TECHNOLOGY through SCIENCE FICTION 22nd-23rd June 1994 BARCELONA (Spain) Organized by: Consell Sodal (Board of Trustees) ofUNIVERSITAT POLrrECNICA DE CATALUNYA (llPC) In cooperation with: Software Department (UPC) Physics and Nuclear Enzineerinz Department (UPC) WORLD SF (Hispanic Chapter) THE WORKSHOP A good working definition of science fiction is "speculative extrapolation about the effect of science and technology on society". The aim of this International Workshop is to provide a forum for identifYing, encouraging and discussing research about science and technolOgy, or their consequences, as portrayed in science fiction. The Workshop will bring together researchers, scientists, and other academics with science fiction professionals to share information and explore new ideas about the relationship between science fiction, science and technology. TOPICS OF INTEREST The topics or Interest Include bUE Ire Dor limited Biotechnology, genetic engineering Computer science, robotics. artificial intelligence Macroenginecring Nanotechnology Physics, astronomy, cosmology Professional activity of scientists and engineers Social impact of science and technology Teaching science and technology with science fiction INSTRUCTIONS TO AUTHORS Paper submissions must be in English and no more than 6000 ",!ords long. The Procltdings of fhe Work.r.irop will be published by Iht organizing institution. Authors arc requestcd to submitauUtro!lnlt'nlionwilh the tille of the paper and ashon abSlr.1ct (less than one page) before No\'ember 30, 1993. AuLhors must submit five copies of each paper, before Janu ary 31,1994, to the: Program Chairperson: Miquel BARCELO Facultat d'Inrormltic:a Universitat Politecnic:a de Catalunya Pau CarzaJlo, 5 E 08028 BARCELONA (Spain) Tel: 34,3.401.6958 Fax: 34.3.401.7113 E-mail: PROGRAM COMMITTEE Miquel BarcelO (Software Dept., UPC, SPAIN) Joe Haldeman (SFWApresident,MI.T.AIsociate Professor. USA) Elizabeth A. Hull (SFRA past-president, USA) Frederik Po hi (SFW A and WSF past-presi dent, USA) Vernor Vinge (Dept. ofMaIhSciences, SOSU, USA) ORGANIZING COMMITTEE Miquel Bo ... el6 (Software Dept, UPC) LaUI1l Cabarrocu (Board of Trustees (seer.), UPC) Gay Haldeman (Writing Program. ML T.,USA) Ped." Jo"e (Hispanic Chapter of WORLD SF) Jordl Jose (physics and Nuclear Enginecrini Dept, UPC) Louis Lemkow (Sociology Dept. UAB) Manel Moreoo (physics and Nuclear Eogioecriog Dept., UPC) IMPORTANT DATES Deadline for lAlIer 0/ Inunlion: November 30,1993 Deadline for Paper SuI> mission: January ll. 1994 Notification of Aa:ept ance: March IS, 1994 Camera ReadY Papen Due: Aprit 30, 1994


SFRA Renew'209, January/February 1994 FICTIDN REVIEWS ab Hugh, Oafydd. Arthur War Lord. New York: AvoNova, Avon Books, March 1994, 300 p., paper, $4.99; ISBN 0-380-77028-8. ab Hugh continues to grow in stature and depth as a writer. Beginning with such whimsical stories as Heroing, ab Hugh moves into dark and deep fantasy tales. Set in England in World War II, we jump with a member of Britain's secret service and a suspected IRA terrorist into the past ... into Camelot. Peter Smythe, SAS agent, follows Selly Corwin back in time to King Arthur's court. Smythe finds himself in the body of none other than Sir Lancelot du Lac. while Corwin remains an enigma. Told in a complex and sometimes confusing blur of action and adventure. this book begins rather roughly. with foreign names and a lot of subtext going on before the first line of the book. However. wading through the first chapter is well worth the effort. By the end of the book, the reader will be desperate to find out if Corwin is Guinevere. if Smythe will succeed in his mission. if Cors Cant Ewin will get the girl. and more. If ab Hugh continues to improve his writing at this pace. he may outstrip such masters as Asimov and Oarke long before he's forty. The only thing not enjoyable about this book is the wait for the second half ... -Daryl F. Mallett ab Hugh. Oafydd. Star Trek: Deep Space Nine: FaDen Heroes. New York. London: Pocket Books. February 1994. 282 p paper. $5.50. $6.99 (Canada); ISBN 0-671-88459-X. STAR TREK: DEEP SPACE NINE #5. WOW! That one word describes this book in a nutshell. ab Hugh comes into his own as a writer of magnitude with this powerful story in which our heroes fall defending OS9. The characterization is right on; Sisko. Oax. Bashir. Nog. O'Brien. Keiko. Rom. Garak ... all our heroes die exactly as we would have expected them too. Only Quark and Odo are left to piece together the shattered remains of their station. Their relationship is played right on target as well. My words cannot adequately describe the power and beauty and horror of this book. This is the best book in the young STAR TREK: DEEP SPACE NINE book series. and one of the best books in the TREK universe so far. -Daryl F. Mallett 69


SFRA Revlew'209, January/February 1994 Anthony, Piers. Demons Don't Dream. New York: Tor, A Tom Doherty Associates Book. February 1994. 340 p paper. $5.99; ISBN 0-812-53483-2. XANTI-!. In this latest installment of his XANrH series. Anthony almost shamelessly exhibits his newly marketed computer game featuring that magical world. The story of Dug and Kim. Mundane players who cross over from playing in a fantasy world to actually being in Xanth. this novel features all our favorite characters, from Jenny Elf and Sammy Cat to Nada Naga and Com Pew Ter. A standard fantasy plot: hotheaded hero realizes value of friendship and cooperation by end of story. but enjoyable, as usual. -Daryl F. Mallett Asprin. Robert. Sweet Myth-tery of life. Virginia Beach. VA: Starblaze!Donning Publishers. 1994. 175 p .. trade paperback. $8.95; ISBN 0-89865-858-6. Illustrated by fantasy artist Phil Foglio. Sweet Myth-tery of life is book ten of Asprin's MYTH series. not to mention his first book in two-and-a-half years. Unfortunately. it is not quite up to the level of the first nine. The plot revolves around Skeeve's attempts to make a decision as to whether or not he should marry Queen Hemlock. how to stabilize the economy of Possiltum, and the basic associated with determining the direction of his life. He also discovers. in his own way. that "beauty is only skin deep," goes on a blind date with a vampire in Umbo. and agrees to a marriage between two of his friends. Aside from the blind date. there is not very much action in Sweet Myth-tery of life. Basically. it is an opportunity for Skeeve to be introspective about life and the deeper nature of relationships. While this is a fine subject and is very appropriate to the title of this MYTH adventure. it is not what we have come to expect as Asprin readers. On a more positive note. Asprin's sense of humor is as wonderful as always, whether in descriptions of the characters' actions. Skeeve's naive comments (i.e .. "I just don't understand what having a haircut has to do with being a royal consort"), or the chapter (i.e., "'Is it just me. or does it seem to you that I have more than my share of troubles?'-Job"). The charactenzation of the Myth-world characters is also very good considering the short format of these novels. at would be interesting to see what Asprin could do in a 350-page novel format in this series. for instance ... ) As always. the Foglio illustrations are both hilarious and appropriate with many in-jokes for those who take the time to look and a great technique for capturing expressions in comic form. (Take a look at Skeeve on page 20.) As one of my friends mentioned. Sweet Myth-tery of life appears to be a transitional book for Asprin. wherein not much happens but it sets the scene for the next in the series. Something M Y. T.H Inc. And while I may not have enjoyed this one as much as the previous nine. I'm still looking forward to number eleven. -Clint Zehner 70


SFRA Revle.1209, January/February 1994 Baker, Will. Shadow Hunter. New York, London: Pocket Books, 1993, 373 p., cloth, $20.00; ISBN 0-671-79046-3. In a future North America, evolution has made a right-angle turn from its classic course: species that consumed each other are now interacting in ways that suggest meaningful interspecies cooperation, and homo lapsis has grown numerous enough to be a competitor for homo sapiens land. The crux of the interracial struggle is Ronnie Drager, thirteen years old, who is kidnapped from a National Hunter Monument by an exploring band of Ginks (h. lapsis by h. sapienS term) assisted by fire ants and a sow bear. The conclusion only hints at happiness for Ronnie and his Pablan (h. name for themselves) counterpart Tima, and has no solution for the interracial contest. Baker's theme is the acceptance of the one-ness of all animal life from the virus to the highest rung, which mayor may not be one of the homo species. He depicts more fully the spiritual beliefS of the Ginks than he does the society ofthe Piksis (h. sapiens by h. lapsis), which is pretty much the same as today's. In following both sides of Ronnie's kidnapping (his experience and that of those back home), Baker introduces so many characters and they in so much activity that our interest in any of them is small. Even Ronrue and Tima are one-dimensional, Baker gave Tima a little more depth of personality and yet failed to explore It to its fullest. Shadow Hunter is a readable and fair sample of ecological science fiction. Its author has a stronger imagination and creative genius than science background or development of writing craftsmanship. -Paula M. Strain Bell, Oare. The Jaguar Princess. New York: Tor Books, A Tom Doherty Associates Book, October 1993,443 p., cloth, $23.95; ISBN 0-312-097042. In this story, a slave girl and the Chichimec king of Texcoco succeed in discrediting the use of human sacrifices in worship by the Aztecs of Tenochtitlan. Bell's plot grows out of the colorful depiction of Mexican civilizations in pre-Colombian times, as it is known today. She turns it into fantasy by expanding the pervasive Meso-American belief in a god who took jaguar form into an ability by selected humans to take jaguar shape at will. A tighter book than her People 01 the Sky (I 989), The Jaguar Princess is certain to remain in memory as an unusual fantasy. The artist, Lyn Newmark, has attempted but not quite succeeded in getting the werebaby features on the cover picture of the heroine. A minor distraction. -Paula M. Strain Bull, Emma. Finder: A Novel olthe Borderlands. New York: A Tom Doherty Associates Book, Tor Books, February 1994, 317 p., cloth, $21.95; ISBN 0312-85418-8. BoRDERLANDS. 71


SFRA Rene .. '209, Januaryl February 1994 Bull, like others of the younger female writers fantasy, uses magic and improbable universes only to point up more sharply the universality of the emotions and interpersonal relationships of her characters. This story is laid in Terri Windling's Borderlands, where the elf world has again rejoined the human, and in Bordertown, where runaways and misfits from both worlds find a place, but not always solutions. It begins with a murder whose investigation expands to discovery of widespread drug addiction among human residents and an epidemic of an unknown disease among the elves. Narrator and major character is Orient, a human with the ability to "feel" and find lost objects. We are told most about him, and much less about the two major female characters, his elf partner Tick-Tick and the Bordertown cop, Sunny Rico. The numerous minor characters are only intriguing shadows never shown clearly. The amount and kind of action is regulation cop-and-amateur friend mystery. Finders interest for the reader lies in the emotional relationships between Orient and Sunny and, less clearly defined, between Orient and Tick-Tick, and in how the pasts of the three affect their present action. Bringing fantasy so close to mainstream fiction may not be acceptable to many fantasy readers; others will approve. To which group do you belong? -Paula M. Strain Benmann, Hans. The Broken Goddess. Translated from the German by Anthea Bell. New York: A ROC Book, Penguin Books, January 1994, 216 p., paper, $9.00; ISBN. At an academic conference, a lecturer on the relevance of fairy tales to modern literary themes meets an attractive woman who asks him, "Do you think fairy tales are really true?" She walks away from his unsatisfactory answer. The rest of the book is his pursuit of her in real life and in another world where time marches at a different rate and the questor relives fairy tales. Read The Broken Goddess as a fantasy and enjoy Benmann's use of fable; of humans that become animals and animals that act like Men; of small kindnesses repaid by actions saving the protagonist from great danger. Or read this as a study of how the protagonist recognizes emotional immaturity and matures, in which the language of fantasy is used to illustrate the psychology. Either is acceptable. Here, Benmann writes in a style that is more nineteenth-century than about-to-be-twenty-first, but that may be an aspect of translating formal German prose into the less structured English. The author's comments (page 152 and following) on deconstructionism in literary criticism appeals to those of us who think that method has gone to extremes. -Paula M. Strain Carey, Diane. Star Trek: The Next Generation: Descent. New York, London: Pocket Books, October 1993, 278 p., paper, $5.50; ISBN 0-67188267-8. STAR TREK: THE NEXT GENERATION. 72


SFRA ReFlew 1209, January/February 1994 While enjoyable as usual, this Star Trek novel is not distinguished among them. The only significant standing out is that this novel is based on the two part episode of the same name written by Jeri Taylor, Ronald D. Moore, and Rene Echevarria; contains photos from the episode, including one of Stephen Hawking, who guest-starred as himself in a great scene between him, Data, Newton, and Einstein over a game of cards; and it features the Borg, which is always exciting. Other than that, Carey is able and ept, as is her way, and it is a rehash of the tv episode, which was much more poignant than the book. Nevertheless, it is something to be eaten up by us Trek fans. -Daryl F. Mallett David, Peter. Star Trek: The Next Generation: StarDeet Academy: Swvival New York, London: A Minstrel Book, Published by Pocket Books, December 1993, 111 p., trade paper, $3.50, $4.50 (Canada); ISBN 0-67187086-6. STAR TREK: THE NEXT GENERATION: STARFLEET ACADEMY #2. David, one of the best writers in the Trek universe of books, proves his worth again here with the second installment of a new spinoff series depicting our beloved cast as cadets of Starfleet Academy. In book two, we follow the continuing adventures of Worf, the first K1ingon cadet ever admitted to the Academy; Soleta, the young Vulcan woman; Mark McHenry, bumbling Human genius; Zak Kebron, the second Brikar at the Academy; and Tania Tobias, beautiful Human engineering student. This adventure has the cadets stranded on a mission with K1ingon cadets, one of them being K'Ehlayr, Worfs future beloved and mother of Alexander. A nice story, especially for those of us who can't get enough of Roddenberry's marvelous universe. The only complaint I have is that it should have been marketed as a mass-market paperback .. .it would receive more attention and sales that way ... -Daryl F. Mallett de Lint, Charles. The Wild Wood. New York: Bantam/Spectra, March 1994, 221 p., cloth, $19.95; ISBN 0-553-09630-3. The Wild Wood is the first in Brian Froud's FAERIELANDS series, and if this is any example of thing; to come ... well, the realm of the fantasy genre's mythology just became a bit larger and a bit deeper. Froud, designer for The Dark Crystal and LabJffinth filrns and fantasy illustrator, created over fifty drawing; and painting;, then invited four of his writer friends (Charles de Lint, Midori Snyder, Patricia McKillip, and Terri Windling) over and had each of them take the images they were most drawn to (no pun intended) and write a story around them. These illustrations, while seldom to my taste, are beautiful in their own right, and add to the feeling of the story without overwhelming (or for that matter underwhelming). As for the actual story, the main plot is about a young woman artist, Eithnie, who begins to have dreams about the creatures of faerie, and when 73


SFRA Renewf209, January/February 1994 they appear in her artwork without her intentionally placing them there, she begins to think she's losing her mind. She's not. They are asking for help in the only way they know how. Human pollution is slowly destroying their forests and, thereby, them. The secondary plots involve relationships between Eithnie and her family, her friends, her cousin Sharleen, and the men she's known. While the plot may not sound to be the most original, (it sounds like a possible episode of CAPTAIN PLANET AND THE PLANETEERS, actually), I think that only de Lint could make it work so well. de Lint's books all seem to have a special feel to them that no other author has captured. Like Dreams Underfoot, The Wild Wood has a spiritual. sensual feel wherein de Lint proves his mastery of the Otherrealms of faerie or the subconscious or even that they are truly one and the same. Reading one of his books is, for some, a zen-like experience where one is exposed to philosophical concepts in forms one doesn't just understand, but-for a while, at least-knows. The characterization in The Wild Wood is superb with only the slightest disservice being done to the actual members of faerie. As for action, well, this is not an "action" book; this would qualify as more of a psychological fantasy with most of the action and suspense developing from the characters' internal conflicts over decisions past, present, and future. As stated earlier, the eco-plot may seem somewhat trite, but de Lint is, at least in part, trying to make the point that "one man can make a difference." Or, in this case, one woman. The settings, in fitting with the storyline, are beautiful, with poetic descriptions of both the Canadian woodlands and the Arizona desert. In brief, while I haven't read books by the other authors in the FAERIELANDS series, if the company they keep is any indication, I have at least three vel}' good books to look forward to reading. If you are looking for a fantasy novel (one is tempted to say novel of modern mythology) of depth and beauty where the true protagonist IS the human race as well as the antogonist, read The Wild Wood. It is wonderful in the old sense of the word .. .it is truly full of wonder. -Oint Zehner Devereux, Robert. Deadweight. New York: DelVAbyss, March 1994, 353 p., paper, $4.99; ISBN 0-440-21482-3. A promotional blurb on one of the front matter pages of Deadweight cites author Gene Wolfe as saying about this novel, "Frankenstein meets The VaUey o the for the faint of heart," but Wolfe's characterization of the story is in fact slightly off: Deadweightis more appropriately described as The Burning Bed (the Farrah Fawcett melodrama about wife abuse) meets Night of the Living Dead. The author has watched just enough Oprah Winfrey and Phil Donahue shows to be dangerous, shows which have trivialized and sensationalized child and spouse abuse. He further trivializes these issues by yoking them to a banal gothic plot, complete down to the damsel-in-distress at-the-hands-of-a-madman motif, with the hero arriving just in the nick of time. The rrotagonist of the story is Karin, a child abuse victim. Repeating the cycle 0 abuse from which she emerged, Karin marries an abusive 74


SFRA Revle ... '209, January/February 1994 husband, Danny, a wife-beater, and after enduring his violence for a number of years, she finally kills him. Compulsively, she visits his grave daily, bringing flowers and talking to him, when she discovers she has the remarkable, magical talent of speeding up the growth process reanimating her dead husband. (A metaphor, one assumes, for the cyc1e of domestic abuse from which she and other victims cannot escape.) Karin's powers of restoration-or reanimation, rather--are never explained save she has a "green thumb" which she inherited from her grandmother, the one person in her life who loved her without reservation. Following Danny's resurrection by the unwitting Karin, the novel lapses into a standard gothic plot of stalk and capture, followed by Karin's abduction in which Danny kidnaps her and takes her to an isolated cabin where he intends to torture and eventually kill her. Whether the husband hero arrives in time generates the suspense. More tiresomely, Karin's second husband had loaned the cabin to a law firm partner in order for him, the partner, to be able to engage in an extramarital tryst; predictably, the couple become the proverbial wrong-place-wrong-time victims. The man is dispatched rather quickly, but Danny saves his most horrendous deeds for the woman-whom he kills, then forces Karin to reanimate her, only to kill her again-this time with more visceral damage, only to force Karin to reanimate her again, and so on, cut upon cut, one fall of the axe upon another, acting out the repetitive compulsion of his own history of abuse (no surprise). The scene is revealing: As Danny's violence toward his female victim becomes more and more extreme, the scene unwittingly reveals the reductio ad absurdum of splatterpunk, one school of contemporary horror that has just about run its course. It's as if splat-pack authors are locked in a game of baccarat, each new novel another attempt to up the ante, each striving to imagine just how far they can push the carnage. There is certainly nothing wrong with extremes, unless, however, the language succumbs to great floridity (aka, "purple prose"), and the author rather enjoys the reader's nose in the nastiness of it all. To wit: "Danny rolled off Nona; tned to anyway. His cock was clotted inside her neck, groin hairs stuck to the stump of her torso like thin spaghetti congealed in meat sauce. He lost a few hairs in the process, but peeled carefully free of her and stood at last by her bed in the predawn light." There may be a certain black humor in this and other such passages: As the proverb states, there cannot be disputations about taste. David J. Schow, the putative coiner of the neologism "splatterpunk" (who has apparently distanced himself from the movement since) wrote an essay a few years ago title, "If You Can't Stand the Meat, Get Out of the Abattoir." Rightly so: If you can stand the meat, Deadweightoffers a veritable feast; if you can't, well, then it is like so much canned viscera. -Sam Umland Drake. David. The Sharp End New York: Baen Books, 1993.377 p., cloth, $20.00; ISBN 0-671-72192-5. HAMMER'S SLAMMERS #6. Six officers and non-comms, drawn from various units of the mercenary Frisian Defense Forces, make up a survey team to determine if Cantilucca wants to hire FDF services. What the team found there and what they did before the FDF infantry lands on the last pages make up the story. It's a story of action, but the reader must first work through an overly long prologue (133 715


SFRA RerJew'209, January/February 1994 pages) describing the incidents in the characters' recent military careers that make them available for the assignment. This is science fiction only by courtesy of the weaponry that is an essential but undescribed part of the story (tribarrel guns. 2-cm and ammo. monofilament spy cameras with audio, etc.). Drake gives so little attention to the land and its inhabitants you aren't sure whether the story isn't happening in Iraq or the gang-ridden streets of Los and Chicago that Dashiell Hammett wrote about. Continuous violent action keeps one reading. The characters are familiar enough if one has had any active duty experience in the military. Good space opera. in short. and something many readers enjoy as this sIXth book of HAMMER'S SLAMMERS series proves. -Paula M. Strain Graf. L. A. Star Trek: Firestorm. New York. London: Pocket Books. January 1994.273 p .. paper. $5.50; ISBN 0-671-86588-9. STAR TREK #68. Graf (a pseudonym; L(et's) A(ll) G(et) r(ich) a(nd) f(amous)). pens the fire book to go with her previous ice (Star Trek: Ice Trap) story? .. perhaps. Graf establishes herself as one of the prime Star Trek writers with this latest book of hers. Firestorm gives us Chekov. Sulu. and Uhura. normally to back-seat positions. top billing. In an attempt to discover why Elaslans are mining dilithium on the most geologically active planet in the galaxy. our heroes discover sabotage. attempted regicide. an alien lifeform. and more. A very well-written. believeable addition to the already rich STAR TREK universe. Grafshould write more ... and not just in this universe ... -Daryl F. Mallett Drake. David. The VOJl!ige. New York: Tor Books. A Tom Doherty Associates Book. January 1994.415 p .. cloth, $23.95; ISBN 0-312-85158-8. Lissea Doormann and her crew of twenty veteran mercenaries set out for the distant planet of Pancahte to recover a stolen scientific instrument belonging to Doormann Trading. whose board not expect her to succeed. This is in the universe of HAMMER'S SLAMMERS and Ned Slade. whose actions we follow, is a nephew of a hero of an earlier Drake book. The VOJl!ige. however. is more a retelling of Jason's search for the Golden Reece than a reprise of Vietnam and guerilla wars of other Drake tales. Don't fuss! There's plenty of spitting guns. eviscerated bodies. and violent action in each of the twelve planetfalIs the Swift makes en route. Each landing bring; one or more problems which a dirty trick. swift decisions. and brutal force solve. Lissea and crew return home successfully to meet even more serious trouble. By mid-voyage. Ned Slade is wondering if brutal force is the best answer. He is dissatisfied with its results but uncertain whether any other answer is possible. Drake leaves the reader with the voyage concluded. and the stories of Lissea and Ned at a halting place. but without conclusion. -Paula M. Strain 76


SFRA Review 1209, January/ February 1994 Hambly, Barbara. Stranger at the Wedding. New York: Del Rey Books, April 1994,341 p., paper, $5.99; ISBN 0-345-38097-5. Well, if you're a friend of Antryg and Joanna, you just got part of your wish. Stranger at the Wedding takes place in the Empire of Ferryth, but you won't see any of your friends except the Lady Rosamund ... and chances are you won't mind. Kyra, journeyman in the Council of Wizards, in preparing for exams, discovers that something is interfering with her spellcasting and the signs warn of something foul soon to befall someone close to her. When she dreams of her sister dying on her wedding after receiving notice, though not an invitation, of said impending weddmg, she returns to the house her father exiled her from years before in an attempt to stop the wedding, or at least postpone it until she can find the source of her fear. Stranger at the Wedding has several unexpected twists as one would well expect from Hambly. Her characters come across as real people who you can care about, although, as in real-life, some of the lesser characters tend to run Overall there are only two complaints. OccaSionally, the pace was slow, with the descriptions getting in the way of the action. After spending so much of the book being "dark," and having fears of what was yet to come, dealing with the traumas of relatives, gossip, and spite, etc., the happily-ever-after ending seemed a bit too pat. If you have yet to read any Hambly, this book shows her as well as her weaknesses. Her talent for describing the politics and actions of her world is astounding, if not the actual characterization. Be warned, however, that it is not as lightweight as the dippy cover blurb makes it out to be. -Clint Zehner Hartwell, David G., ed. Christmas Forever. New York: Tor, A Tom Doherty Associates Book, November 1993, p., cloth, $24.95; ISBN 0-312' -85576-1. Popular a hundred years ago, the anthology of stories or essays dealing with a special season has been revived in the last three or four years, particularly for the pleasure of the reader of particular genres. This is the first seasonal anthology I've seen for the science fiction/fantasy field. It can't be: the author's credit list shows he edited an earlier Christmas anthology. Anthologies are generally variable. The level of writing in Christmas Forever is superior to excellent, as you'd expect from the authors included. Variety of approach is wide. Some stories emphasize pleasant sentiment. Others give a quick twist to a legend ("Prince of the Powers of the World," by Roger Zelazny). Some merely depict and meditate on a character ("We Traverse Afar," by James P. Blaylock and Tim Powers). Some manage comedy; others parody well-worn tales ("The Tamerlane Crutch," by James Powell). The Christmas connection of one or two may escape you entirely. Selection is wide, but let me recommend three I especially enjoyed: Rudy Rucker's "Easy as Pie" is a lighthearted retelling of a very old fable; Alan Dean Foster's "We Three King>" is pure fun as three monsters created 77


SFRA Re'ritr,,'209, January/February 1994 simultaneously by three competing scientists meet a bewildered policeman on Christmas Eve; and Janet Kagan's "Christmas Wingding" is a choice mixture of science fiction activity and seasonal sentiment. Too bad this reached me just after Christmas ... -Paula M. Strain Lackey, Mercedes & Larry Dixon. The Black Gryphon. New York: DAW Books, January 1994, 389 p., cloth, $22.00; ISBN 0-88677-577-9. Go back, with Lackey and husband-artist Dixon, to the days of the first mage wars in what will eventually become Valdemar. See how the other sentient races, especially the gryphons, gained acceptance as reasoning intelligences. Follow two love stories, one human, one gryphon, to a final battle in the war humans and sentients were losing, when the book, but not the story, ends. Entertaining reading for Valdemar fans, but not the best work either has done. Getting acquainted with and following the disjointed stories of four separate characters does not give a reader consistency of interest. Too much in the way of terms and concepts is left to assumed familiarity with the twelve books that have come before. Emphasizing the birdlike characteristics of the gryphon is essential to the action, but surely the illustrations could have shown a little of the other half of the bird-lion of mythology. The addition of an apostrophe in the middle of the arch-villain's name does not distinguish him sufficiently from the earlier malignancy Robin McKinley created and named ten years ago (in Hero and the craM], 1984). Too hasty work? Seems so. -Paula M. Strain Lackey, Mercedes. Sacred Ground New York: Tor Books, A Tom Doherty Associates Book, March 1994, 381 p., cloth, $22.95; ISBN 0-312-85281-9. After receiving my first paycheck from my new job, the first thing I did was to go to the local (45 minutes away) bookstore and buy Lackey's new novel, Sacred Ground That says something for the past quality of Lackey's writing. I was not disappointed. However, while Sacred Ground was a very good book, it did not open as much new territory as I could have hoped for her to explore. The plot is Lackey standard: Strong female main character with magical ability must discover source of evil in certain area, evil turns out to be incredibly powerful and destroys people's lives, and in the end she triumphs with a little help from her friends. In this case, the female main, Jennifer Talldeer, is an Osage medicine woman who is also a private detective living in Oklahoma (not to be confused with Lackey's Diana Tregarde, a practicing witch and detective who often visits Oklahoma). Jennifer's character is well-developed, however, there is a great deal of similarity between her and Tregarde. Anyone who has attempted to write fcnion will have an understanding of the difficulties involved in creating characters with distinctive personalities, yet one could have hoped for a little greater variation here. 78


SFRA Review 1209, January/February 1994 Jennifer's grandfather, Mooncrow, is an interestins character, thou, who is torn between sparing his granddaughter the pain mvolved in learnmg and the greater depth of understanding achieved through discovering something on one's own. Personally, I would like to see a book where he is the main character. Perhaps something when he was younger ... The rest of the characters are well-developed and behave in a manner consistent with their natures, with one glaring exception: David Spotted Horse, Jennifer's former lover. David starts out being a real jerk, dedicated to the cause of Native American rights and treating Jennifer as a "lowly woman." Later, in helping her, he discovers the error of his ways and accepts that she's a better person than he is, etc. As nice as it may sound in theory, in real-life, I have never seen anyone truly' change as much as David Spotted Horse was supposed to here. However, if anywhere, a fantasy novel is an appropriate place for this type of change. Jennifer is hired to determine whether the explosion of a bulldozer at a construction site where Native American artifacts had been discovered was part of a conspiracy, and whether or not the head of the construction company had been receiving threats as he claimed. She discovers that the artifacts may have been moved from another site, and when she discovers that "there are dark forces loose in the world," and that someone had placed a trap for her at the site, she begins to suspect a connection ... The plot is well-paced, as always for Lackey, without any of the spots where some lesser-developed authors get bogged down. And, of course, there's Lackey's usual great sense of humor. The most enjoyable thing about Sacred Ground, and Lackey's books in general, is the attitude her characters have toward life and what things are truly important, about others, helping other people, learning, accepting responsibility, and fighting for a cause you believe in. She also manages to educate people about domestic crimes and the psychology involved. In Sacred Ground, its spousal abuse (in her SERRATED EDGE series, it's child abuse), and she manages to do this without being preachy and in such a way that the lessons are an integral part of her novels. The only other complaint about Sacred Ground is the use by some characters of some phrases from the movie Wa}'11es World, such as "Not!" and something to the effect of "and maybe monkeys will fly out of my butt." While their purpose may have been to make the novel seem timely, they actually make it feel dated and reduce respect for the characters. Overall, though, Sacred Ground is a thoroughly enjoyable book, well worth the cover price (and the drive). The plot is well-organized and fast paced, the characters are people you can care about (or despise, as in the case of Rod Calligan), and the use of Native American mythology in the present-day is exceptional. Now, if we can just get her to collaborate with Tom Dietz ... -Clint Zehner Laidlaw, Marc. Kaliform"a. New York: St. Martin's Press, February 1993, 245 p., cloth, $18.95, $24.99 (Canada); ISBN. And the 1993 Philip K. Dick Award goes to ... Marc Laidlaw! Ah, you'll have to excuse that brief flight offantasy ... 79


SFRA Renew 1209, January/February 1994 Yes, fellow sky-fy mavens, I fully realize that because Kaliforma, the third novel by the aforementioned Laidlaw, is a hardcover, it isn't even eligible for consideration by the esteemed jurors. But it should be. Kaliforma is just the type of book that Phil Dick would've gleefully put his stamp of approval on. The near future was Dick's domain, his raLSon detre ... whether that meant a story set fifty years from now ... or a mere five minutes hence, it was all the same once subjected to his fractured I don't think Dick would grouse about sharing a little portion of his fiefdom with a writer as talented as Marc Laidlaw. And imitation is, after all, the sincerest form of flattery. Which is not to say, I hasten to add, that Laidlaw is merely the latest in a long line of writers who owe a tip of the hat to that crazy guy who used to live over yonder a ways, in a high castle, protected by legions of cats (and wives). For the sake of his peace of mind, I sincerely hope that Laidlaw can endure the inevitable comparisons with a degree of good humor ... or, at least, manufactured stocism. When you think about it, as far as influences go, you could do a whole lot worse than PKD. And further, anyone adopting Dick's milieu would find themselves joining a growing roster of PKD-laced writers whose credentials are impeccable-and while they may share some of the same source material, each has branched out and broken new ground, imagineered worlds that Dick, even in the throes of the deepest dexedrine-induced hallucinations, could not have fathomed. Some names that come to mind: K. W. Jeter, Michael Kandel, Kim Stanley Robinson, and James P. Blaylock. And though he resisted the comparison when I buttonholed him at a convention a couple of years back, I think you can safely add William Gibson, the Sultan of Cyber, to this list, if only because both he and Dick share an ability to create mind altering, trip-py storylines without sacrificing brevity ... and perfect, crystalline clarity. It is unthinkable to opine that anyone of these writers is only a clone of PKD-at least not while they're within earshot-and, similarly, selling Laidlaw short would be a tragic oversimplification. Okay, so the locals may seem a little bit familiar (the mega-metropolis sprawl that is Los Angeles and San Francisco combined) and maybe one or two of the characters-Marjorie Figueroa and The Reverend Governor Thaxter H. J. Halfjest, for instanceseem awfully phildickian ... ... and the occasional advertising spots a wee bit Ubikian ... These things are self-evident. And since we're tossing around literary antecedents, I could point out that Kaliformiis feuding, famous, fatally, flawed Figueroa family (say that with a mouthful of crackers), darlings of half the planet, bring to mind the celebrated (and equally doomed) Glass family that J. D. Salinger formed out of star stuff, clay, inspiration, and angst back when Ike was Prez and good girls didn't (get caught). Like the Glasses, the Figueroas are having difficulty adjusting to life out of the brazen spotlight. And the Glasses had It comparatively easy-they never had their most intimate experiences instantaneously broadcast through cranial implants to their devoted (read: rabid) fans around the immediate galaxy. Members of both families, separated in time by more than a century, have come to the realization that any effort they make to rid themselves of the typecasting imposed on them by fate-and network executives-will bear an emotional and psychic cost. Any hopes at living an ordinary life are just that. Is it any wonder that Sandy Figueroa has, as a keepsake, an autographed picture of Danny Bonaduce? 80


SFRA ReneIFf209, January/February 1994 In Kalifornia there are fifty-seven thousand channels with no thin' on and a shattered, crumbling inner city is populated by weird sects and fame is still the currency that never seems to devalue. In Gibson's masterful cyberpunk trilogy, cowboys plugged into the grid and tried to ride off into the sunset with as much information as they could cram into their saddlebag; before black ice bullets consigned them to re-Boot Hill. The future according to Kaliforma is even bleaker. Everyone is plugged into the system and the only people really living are the actors assigned leading and supporting parts in plotlines as old as Dick Clark's dad. It may well be satire, as some commentators have noted. But this satire cuts to the quick. Far too close for comfort and not so odd that it shouldn't be taken very, very seriously. -C1iffBurns Masterton, Graham. The Hymn. London: Macdonald, September 1991, 346 p., cloth, .95; ISBN 0-356-19793-X. Masterton is a British horror writer who invariably sets his novels in the United States. This is partly a marketing ploy but his backgrounds must be authentic enough as he has a gathered a following in America. He is a competent writer with plenty of ideas. He is not Stephen King or as atmospheric as Ramsey Campbell, nor quite as exhibitionist as Shaun Hutson but his narrative style flows well, carrying the reader along. This particular novel begins with a young woman pouring petrol over herself and setting fire to it. At first, her fiance, Lloyd Denman, cannot believe she is dead-she had so much ahead of her. Then a bus is found with all the occupants burnt to death, and they seem happy about it. Lloyd is struck by the coincidence one of these dead worked for the same opera company as his fiance, Cella, did. Then he notices that in pictures of both incidents the same two people are among;t the ghouls who always turn up at traffic accidents and fires. Also he finds out that Cella had not been completely honest with him. He begins to suspect she has been murdered but too many of the circumstances seem to go against the theory. In order to come to terms with the tragedy he has to investigate. He teams up with Kathleen, a woman whose husband died on the bus and Tony, a blind Indian boy who heard the destruction of the bus. Tony is the wild card. He is able to perform magic. Cella reappears. Yes, she is dead. Yes, she killed herself. But now she wllllive forever. She promises Lloyd a wonderful life together if he will be patient a little longer but Lloyd thinks that there is evil in her transformation to a spirit of smoke and fire especially as friends begin to die, in fires. The book contains interesting ideas but the one theme at one time was well used in thrillers. Here, Nazisin is alive and well and burning people in California. The villain, Otto, has discovered how music (a lost masterpiece) can transform the cremated into immortal flesh and with his new minions attempts to do what Hitler failed-build a Reich that will survive a thousand years. Celia and her friends are the start of the last phase of the fulfillment of his dreams. -Pauline Morgan 81


SFRA Rene.'209, January/February 1994 McCaffrey, Anne. All the of Pem. New York: Del Rey Books/Ballantine Books, 1991, 404 p., cloth, $20.00; ISBN? A novella about dragons and dragon-riders led off an issue of Analog over twenty-five years ago (1 %7), creating a group of fans whose demands have resulted in eleven full-length books and a few shorter stories. The Analog story, and the full-length book, Dragonflight that it expanded to, and were science fiction though the science (bio-engineered dragons, spores from space, a planet with an eccentric orbit, etc.) was so discreetly buried that many readers overlooked it. The books that followed concentrated more on what the readers wanted-the history of the colony on Pem and, especially, on the dragons and on the riders of the latest generation who fought Thread, that blight from interstellar space. Now, in what McCaffrey apparently hopes will be the last of the series, she writes obvious science fiction. Science and technology are at the forefront of the story throughout the book. The opening lines of All the of Pern are about Alv AS (Artificial Intelligence Voice-Activated System), which we met on the last pages of The Renegades of Pern, and AIV AS is constantly on stage until the next-to-last page of the story. The plot is a standard one-how technology is recovered by a society regressed to a lower standard by disaster, but that won't matter to McCaffrey fans. She has put all the favorite characters of earlier books on stage-Jaxom and his white dragon Ruth, Flar and Lessa, Menolly, Sebell, Pietur and Robinton. Lesser characters, D'ram, Lytol, Mirrim, Fandarel, and others play their parts as well. Readers will like the book; it is McCaffrey at her best. Whether they will be satisfied with the evident completion of the tale of Pem remains to be seen. A. Conan Doyle had to recover Sherlock Holmes from Reichenbach Falls to please his readers ... -Paula M. Strain McKinney, Jack. Artifact of the System. New York: Del Rey Books/Ballantine Books, 1991,281 p., paper, $4.95; ISBN 0-345-37?54-6. THE BLACK HOLE TRAVEL AGENCY #2. I guess it depends on whether or not you mind being thrown into the midst of then being left there. If you mind, you're going to have problems with Artifact of the System, Book Two of what appears to be, not a series of novels, but one huge comic-epic adventure published as a serial. The premise is simple enough. The Black Hole Travel Agency intends to use a little social engineering to make Earth into a theme park. This will not be good for Earth: The Black Hole Agency is to Earth as Earth's First-World imperialists were and are to the Third World, and what that means is made absolutely explicit in an encomium to Black Hole as a "liberator of worlds," operating on the principle "That exploitation is right. That exploitation works... exploitation in all of its forms: exploitation for money, exploitation for fun, exploitation for sex .. Jor adventure, knowledge, and power. Exploitation has fueled the ascendency of humankind throughout the galaxy, and tourism-read my lips, people-will not only resurrect your ravaged economies, but will safeguard the Earth as well." But the new-fangled Terran 82


SFRA Rene,,'209, January/February 1994 ecological hang-up has got to go. along with any concern for "the lumpen masses." the "extras" in the drama of exploitation. Artifect of the System. however. is not an earnest political novel (or installment thereof). It is a comedy with a cast decorous for a comedy: a motley crew out of a bad film nOJr detective flick augmented with several runners-up from the DysfunctionCon "Get-a-Life" Costume contest. Oh. yes. plus a band of highly sophisticated Australian Aborigines who seem to be marking time between Books One and Three. The plot is convoluted in the telling but very simple in broad outline. Lucky Junknowitz. SciFi person. was mistaken for Professor Miles Vanderloop. semiotician. and kidnapped from a men's room at PhenomiCon. but he escaped his captors and roamed the Trough: the worlds controlled by The Black Hole Travel Agency. That. I infer. was Book One. The "inciting action" of Book Two is his returrung to Earth with Sheena Heck. rogue Travel Agency operative and really Sheena Wheeler. daughter of E. C. Wheeler who. under the name of Etaoin Shrdlu wrote. as. apparently. a work of fiction. the true story of the Travel Agency's nefarious designs on Earth. Lucky and Sheena mess around on Earth; a couple "extras" get killed. and Lucky and Sheena end up back in the Trough. It's hard to dislike a book with characters with names like Bullets Strayhand and Ziggie Forelock. especially when it uses those characters to deflate a number of cliches of action/adventure SF. but it's also hard to excited about a book that really doesn't go anywhere in 281 pages and which recycles at least one situation comic gag that's too low for even, say. a rerun of Marn"ed with Children. McKinney's earlier works were the ROBOTECH and SENTINELS series. I looked up those series in a bibliography I'm working on and discovered that. indeed. I'd read and annotated a few of the ROBOTECH/SENTINELS II works. but couldn't recall a damn thing about them. The Black Hole Travel Agency (not yet trademarked) will be reviewed eventually as a unit and may turn out to be incredibly nifty. On the basis of Book Two. though. I'd say it has a long way to go... In the tradition of McKinney's earlier series: a decent read and innocuous. a book to borrow. though, not to buy. -Richard Ehrlich Miller. Faren. The IUusiomsts. New York: Warner Questar. March 1991.213 p paper. $4.95; ISBN 0-446-36131-3. Miller is Associate Editor of Locus and a fine book reviewer. As this novel demonstrates. she's also a talented fantasy writer. The IUusiomsts is a very strange, often confusing, but ultimately rather satisfying first novel. The plot. which is extremely convoluted. concerns an ancient magic item, a globe left over from the sorcerous wars that leveled the city Xalycis. a grand labrynthine city reminiscent of Fritz Leiber's Lankhmar. in an earlier age. The possessor of the globe. city councilman Arnix. has been murdered, possibly by a demon. and the magic item itself has disappeared. Gherifan has sworn revenge and descends into the city's underworld in search ofthe killer. Meanwhile. any number of people. some of them not entirely human. are looking for the globe. The madcap group of questers include a merchant who was a former owner of the artifact. a variety of priests. an elderly actress. and a number of perfumers. The perfumers actually form an important caste 83


SFRA Renerr'209, January/February 1994 in Xalycis because they have raised their art to the level of magic. Perfumes can be used to cast spells, create illusions, even kill. Miller's detailed exploration of the magical uses of various scents is fascinating. The IUusionists is not without flaws. The plot is sometimes hard to follow and this structural problem is occasionally made worse by the lack of a true main character. Still, Miller is a fine stylist with an excellent sense of the grotesque and strange. I found my visit, to Xalycis well worth my time, and only hope that I have a chance to return. -Sally Posner Modesitt, L. E. Jr. The Magic of Recluse. New York: Tor Books, A Tom Doherty Associates Book, May 1991, 442 p., cloth, $19.95; ISBN 0-31285116-2. Lerris, adolescent hero, leaves his home on the island of Recluse because of boredom. For the reader, it might have been best had he stayed there. What follows is a supposed coming-of-age fantasy; but, in reality, it is a predictable journey of a petulant teenager. The rules of Recluse society require peace and serenity with all inhabitants working to the best of their ability. Lerris, who is being trained as a carpenter, cannot meet the standard, so he is shipped off to Nylan, where he will be trained to face the dangergeld. The dangergeld is basically a task assigned by the society's nebulous masters and is the only way Lerris can be readmitted to his homeland. There is magic, and there is danger. There is love and even a small amount of sex. There is even a super wizard who threatens the entire countryside. Throughout, Lerris stumbles through with first an infantile then bordering on arrogant attitude. When he finally completes the dangergeld, one cannot be sure if it's a good thing. In all fairness, Modesitt has created an interesting fantasy world with the kind of parameters which could breed, with other characters, an exciting tale. Certainly, the outcome lends itself to sequel. Let's just hope if there is one, Lerris has his act together. -Nolan Anglum Modesitt, L. E. Jr. The Towe.r.s of the Sunset. New York: Tor Books, A Tom Doherty Associates Book, 1991,368 p., cloth, $21.95. In The Towe.r.s of the Sunset Modesitt describes the rounding of the land of Recluce, the scene of his excellent earlier novel The Magic of Recluce. Creslin, son of the Marshall of Westwind, flees an arranged marriage and travels to Fairhaven, the city of wizards. There, his inborn magical talent draws him into a war being waged between the forces of Order (the black wizards) and those of Chaos (the white wizards). When the white wizards, fearful of his powers, try to kill him, he is rescued by the black wizards and by Megaera, the bride whom he had rejected. Magaera was not particularly sad that he fled. She dislikes not just Creslin but all men. However, they must join forces to survive and to form a new society where magic can be a force of good. 84


SFRA Renew 1209, January/February 1994 This is a superior work of fantasy, full of interesting twists and ideas. Modesitt writes with the same quality that one of his characters identifies as essential to the practice of magic: "It's ... like cabinetry. You need a delicate but firm touch, and a lot of practice." More important, he writes about his characters with compassion. Creslin and Megaera are strong-willed and complex individuals. Modesitt makes the growth of their relationship the center of his story. This is a thoughtful entertainment that invites speculation about the use of power. Highly recommended. -Nolan Anglum Moffett, Judith. Two that Came True. Eugene, OR: Pulphouse, April 1991, 104 p., paper, $4.95; cloth, $25.00; signed leather cloth $50.00; AUTHOR'S CHOICE MONTIiLY #19. The two novellas reprinted here, "Surviving" (1986) and "Not Without Honor" (1989), are both superb and serve as an excellent introduction to a talented SF writer who deserves to be better known. The volume also includes a pair of "Afterwords" which discuss the stories' intriguing autobiographical elements. "Surviving" is the first-person account of a middle-aged psychologist who wrote her dissertation on feral children. like many academics, however, Janet is an ivory-tower sort and has, in fact, never met the specific feral child, Sally Barnes, upon whom her research centered. All of her thesis material was second-hand. Now, a decade later, Janet learns that Sally has not only become a fully functioning human being (something no other feral child has accomplished), but has also earned a Ph.D. and been hired to teach at Janet's own university. Janet, who originally centered her research on Sally because of her own childhood fascination Wlth Tarzan and the freedom that being a feral child implies, now finds herself drawn to the younger woman. Sally, although a proficient scientist, turns out to be not quite as successfully "humanized" as first appears; in some ways she's a very bitter woman. After great difficulty and soul-searching, however, Janet and Sally discover that each of them holds the key to the other's happiness, at least temporarily. "Not Without Honor," a first contact story, features yet another of Moffett's trademark middle-aged, female academic protagonists. Pat Livingston, is a 68-year-old NASA biologist who has just finished creating a biosphere on Mars and is about to be sent home to Earth and possible retirement. Her plans change, however, when it turns out that she's the only one available who has the expertise necessary to deal with a very odd first contact situation. It seems that the aliens have been monitoring Earth television for decades and-surprise, surprise-have become obsessed with the old "Mickey Mouse Oub." More specifically, they've decided that the series' host, the jovial and much loved Jimmie Dodd, is a saint, and they've come to Earth to ask his help in dealing with their own, unruly younger generation. Needless to say, the aliens, who look very strange in their Mickey Mouse Club uniforms, are shocked to discover both that Dodd is long dead and that most Earthlings haven't even heard of him. Livingston, the only member of the Mars expedition old enough to have been a fan of the "Mickey Mouse Club," thus finds herself in charge of facilitating the first contact. The central ideas behind these two stories aren't particularly original, of course, but Moffett's versions work extremely well because she combines an 85


SFRA Revlew'209, January/February 1994 honest appreciation of the icons of childhood with a wry awareness that there's something essentially silly about adults acting out childhood fantasies. Janet, the psychologist in knows that it's basically ridiculous for a middle-aged academic to be strippmg naked and swinging the trees like Tarzan. Pat Livingston recognizes that Jimmie Dodd's teleVISion pieties were saccharine and oversimplified for all that they were heartfelt. Yet both women still feel a powerful, gut-level attraction to those very icons that, on a more rational level, they would have insisted that they'd long outgrow. Moffett makes it clear in her "Afterwords" that both Janet and Sally in "Surviving" and Pat Livingston in "Not Without Honor" are very close to the author herself, that the desire "to light out for the Territory" that all three characters feel is very much her own. The two stories contained herein stand successfully on their own, but Moffett's autobiographical commentary is a welcome and revealing bonus. -Marcia Marx Morlan, A. R Dark Journey. New York: Bantam Books, December 1991, 596 p., paper, $5.99; ISBN 0-553-29152-1. The one thing certain about Dark Journey is that Morlan is not just writing another by-the-numbers horror novel. Beyond that, this exasperating, mind boggling, ultimately disappointing novel is hard to sum up. The first portion, about 200 pages, is full of baffling events and portentious half-statements; it's the kind of story that could be speeded up immensely if characters asked the questions that almost occur to them or noticed things they almost see. After that, when one character hands another a record of events from decades before, the reading speeds up. Even though the narrator also agonizes about the awful things he saw and did long before he shares them with the reader--and even though the style of the journal seems inappropriate for that character-this part of the novel does build momentum. And that's necessary in the last portion of the book, when the storyline leaps through different times and different realities at a breakneck pace, as if constructed by A. E. van Vogt after glancing at one of Stephen King's CAsTLE ROCK novels. Balancing the reader's bafflement and exasperation is the fact that Morlan builds a convincing picture of Ewerton, Wisconsin. The town looks and feels real. Morlan's audacity also is appealing. It's invigorating to find someone willing to take real chances inside the increasingly moribund field of horror fiction. Ultimately Morlan sabotages Dark Journey by adding an epilogue that undercuts much of what she's been doing and turns her book into a much more routine tale. Too bad. This is her second novel. I don't feel much urge to go back and read her first one, but I'd advise you to watch for her next. -Joe Sanders Murakami, Haruki. Hard-Boiled Wonderland and the End of the World, translated by Alfred Birnbaum. New York: Kodansha International (114 Fifth Avenue; New York, NY 10011), 1991, 400 p., cloth, $21.95; ISBN 47700-1544-5. 86


SFRA Revlew'209, January/February 1994 This may well be the quintessential postmodern novel. As a result, it's very difficult to say exactly what it's about, especially as it recounts two separate narratives-Hard-boiled Wonderland and The End of the World The first is a kind of wryly humorous avant-garde cyberpunk narrative set in the urban landscape of a future Japan. Its unnamed narrator, a Calcutec who codes and decodes information for "the System," is on the run both from various minions of the System and from thug:; in the pay of the Semiotecs, the Data Pirates who rival government forces in influence and wealth. The second story is a delicately surreal fantasy set in a mysterious place referred to as "the Town," its unnamed narrator is a Dreamreader who spends his evenings in the library, absorbing dreams from the skulls of long-

SFRA Revle",'209, January/February 1994 O'Keefe, Claudia, ed. Ghosmde: Tales of Horror, Dark Fantasy. and Suspense. Sherman Oaks, CA: Revenant Books. 1993. 221 p trade paperback. $12.50; ISBN 0-944494-22-6. Here is an anthology which will delight almost every reader. With stories from such masters as Robert Bloch "Iron Mask," Gahan Wilson "The Power of the Mandarin," Hugh B. Cave "The Mountains of Time," David J. Schow "Penetration." and Chelsea Quinn Yarbro "The Creatures That Walked in Darkness," it also contains mid-Jist writers like Dean Wesley Smith and Kristine Kathryn Rusch "Model Lover: Kathryn Ptacek "Neighbors," Dave Smeds "Soul Searching," Susan Palwick "Force of Habit," and Janna Silverstein "Her Mother's Cries," and also features William Browning Spencer "Irrational Fears." Tavish Macminn "The Ghosts of Mice and Bugs," Keelin Cole "Annoyed to Death." and S. A. Stolnack "De Profundis Oamavi." With a lineup like this. it's hard to miss. O'Keefe has brought together masters and neophytes in this lavish trade paperback book. Blodi. Cave and Wilson delight and horrify with their stories. as usual. and an interesting tale telling from 1>tacek make the grade. A good book all around. -Furumi Sano Peel. John. Star Trek: The Next Generation: Here There Be Dragons. New York. London: Pocket Books. December 1993.275 p paper. $5.50; ISBN 0-671-86571-4. Sr AR TREK: THE NEXT GENERATION #28. Best known for his work with The Man From UN CL.E. Doctor MIo. The Twilight Zone. and Lost in Space nonfiction and fiction. Peel now joins the Jist of writers working in the Star Trekuniverse. Mixing fantasy and space opera. Peel blends dragons. poachers. tunnels through ionization storms. and more as our characters get a chance to play roles of swordsmen and noble ladies and magicians. A delightful change of pace for Picard and Co. -Daryl F. Mallett Reichert, Mickey Zucker. The Legend ofNif:htfaD. New York: DAW Books. December 1993.496 p paper. $5.99; ISSN 0-88677-587-6. When Nightfall. man of many identities and crimes. is trapped at last. he is given a choice between execution and nursemaiding the king's innocently idealistic son on his quest for an estate. The story is how both change in the course of their adventures and escapes from danger and betrayal. Nightfall is developed carefully. Younger Prince Edward is sketched with less details. but certainly more than are the remaining characters. who are standard fantasy personnel. Action moves rapidly enough that several inconsistencies in plot may escape the notice of most readers. The one that bothered me most relates to the unusual limits Reichert places on the sorcerers: a sorcerer can magical ability only by wresting it from one of the rare individuals born With that particular talent. That limitation is given on 88


SFRA Revlew'209, JaaulU'Y/FebrulU'Y 1994 the first page, but fifty pages on, and throughout the rest of the story, all three sorcerers possess a common ability to fly into the air. The story is worth spending an evening reading. but it is probably not worth preserving to re-read. -Paula M. Strain Scieszka, Jon. Kni;dJts of the Kitchen Table. New York: Viking, 1991, 55 p., paper, $10.95; I"SBN 0-670-83622-2. Scieszka, Jon. The Not-So.JoUy Roger. New York: Viking, 1991. 57 p., paper, $10.95; ISBN 0-670-83754-7. These two works are time travel tales, and the three young protagonists call themselves the Time Warp Trio. Knights of the Kitchen Table begins with narrator Joe celebrating his birthday with his friends Fred and Sam. One of Joe's presents is a book of magic, given him by his uncle, Joe the Magnificent, a professional magician. In his excitement over The Book, Joe carelessly expresses a desire to see knights "and all that stuff," thereby plummeting the boys !:lack into the Middle Ages, where they are confronted by an ominous knight in black armor. The adventures that ensue are comic, with much of the humor based on the mutual misunderstanding; of the medieval characters and their anachronistic modern visitors. The boys have to use their wits to survive, especially since they present themselves at the court of Camelot as talented enchanters. Ultimately they prove themselves real heroes when they trick a giant (Bleob) and a dragon (Sinaug) into destroying each other. They are able to return home, however, only with the help of Merlin, and their smoky reappearance in the kitchen is not appreciated bX Joe's mother. Did they imagine it all? Joe still has the Magician card from \Jueen Quenevere's pack to prove that it all really happened. Readers who expect anything like an authentic medieval setting will be disappointed. The knights speak a parodic archaic languase, with such gross errors as "he hast slew," and the castles are absurdly supplied with glass windows. As for the three boys, they are almost too modern, as their first complaint in Camelot is the lack oftelevision. The Not-So.JoUy Roger concerns the Time Warp Trio in the domain of Blackbeard the Pirate, who invites them aboard his pirate ship. Not surprisingly, he actually tricks them because he believes that have stolen his buried treasure-which they have. Fortunately. at the last minute, the magic Book turns up in the same treasure chest, and the three unwilling travelers are able to get back home. Again in this tale there is no attempt at historical verisimilitude, but the humor is based on anachronism and on the casual bravado of the three frightened but ever resourceful Characterization is minimal in these books. WIth the three boys individualized only superficially. Joe as narrator is the would-be magician. Sam is the intellectual wearing glasses. and Fred is the baseball fan, dressed appropriately and always tossmg a baseball up in the air. The plots are slim and fairly predictable. As in each case the boys are rescued by the Book at the last minute, the stories remain unfinished. The black-and-white illustrations are in the style of cartoon caricatures. Fun reading, but not memorable. 89


SFRA Rerie"'209, January/February 1994 -Charlotte Spivack Smith, David Alexander. In the Cube; A Novel of Future Boston. New York: Tor, A Tom Doherty Associates Book, 1993,286 p., $18.95; ISBN 0-31385448-X. Time: Last years of the Twenty-first Century. Place: Boston. Major Characters: Beverly O'Meara, private detective; Akktiri, her Phneri partner; Iris Stand wood, hated, powerful city official and Beverly's client. Minor Characters: Assorted Bostonians and a few offworld aliens. Plot: Locating a missing person. Plot and most characters are familiar enough to offer a comfortable evening to mystery fans. They will expect the search for the missing person to expand into something more sinister. They will like the tough yet compassionate female P.I. as being similar to Sue Grafton's Kinsey Milhone. Akktiri, the P.I.'s partner and friend, will be a surprise to mystery fans, but not to science fiction readers. The SF reader will appreciate the brown and-gold furry individual the size of a monkey or teddy bear whose philosophical concepts are so unlike ours that he and his other refugee compatriots from an obliterated planet still speak, after a generation in Boston, only very broken English. Understanding between Beverly and Akktiri is more a matter of trust and friendship than communication. There are other alien races on Smith's pages, but he gives them very little attention. Much greater attention is given to showing how the years, and the arrival of aliens and their technology, have changed Boston. Perhaps too much care in describing the changes is given to please those of us who are less than well-acquainted with Boston landmarks-but Smith is chairman of the Future Boston Workshop, and the Boston he describes will be used by other writers in their stories. In the Cube is a mystery in science fiction clothes. The clothes are worth looking at, even if the mystery is not your first choice. -Paula M. Strain Springer, Nancy. Larque on the Wmg: New York: William Morrow, An AvoNova Book, February 1994, cloth, $20.00; ISBN 0-688-13175-1. The story of a week in the life of a menopausal artist with psychological as well as family problems could be any bestselling novel today. But Larque's multiple personalities are animate and visible to those around her, and the handsome young man who functions as her psychiatrist is either an amnesiac or a revenant (we learn which in the last pages). Springer has given us an unusual fantasy laid in a small Pennsylvanian town, where her characters drive Toyotas, wear Addidas, and get divorces. The rough edges of the town and the raunchy language spoken will probably offend the reader who expected the gentility of most fantasy, but may encourase the reader of realistic fiction to explore this and other books over the dividmg line. This is worth reading. -Paula M. Strain 90


SFRA Revle.f209, January/February 1994 Stasheff, Christopher. We Open On Venus. New York: Ballantine Book.slDel ReyBooks, February 1994, 329 p., paper, $5.99; ISBN 0-345-36891-6. Thank you, thank you, thank you, Christopher Stasheff. Finally, after ye8rs of waiting, Del Rey has published the second book in STARSHIP TROUPERS. At the end of A CompBny of St8rs, our "heroes" had taken off to begin their interstellar tour, just ahead of a messenger for Elector Rutgers, a Jerry FalweJVJesse Helms-type who was attempting to stop the spread of culture into the colonies and censor any and all forms of entertainment he could manage. In We Open On Venus, Stasheff continues their journey wherein the company arrives on New Venus, a planet controlled by Amalgamated Petroleum, a rather conservative cartel with little desire to support the arts. In fact, if heard of a "company town," you should recognize New Venus ... lt's a company planet. After forcing their way through the bureaucracy, the troupe is allowed to perform, but only one of the plays they had rehearsed, the rest being described with such glowing phrases as "the one that shows the hero defying authority and getting away with it" or "the one that takes place in a converted whorehouse." Which play are they allowed to perform? The "Scottish Play," M8cbeth, where: "An earl kills a king. and the king pulls some dissatisfied noblemen together to mount a rebellion, and the people flock to his banner." If only the management knew what they were in for ... Overall, We Open On VenUS' was almost as good as the first book, which is to say "fantastic." Like its predecessor, it is a wonderful conglomeration of science fiction, political satire, the adventures of a theatre troupe, and a tirade against censorship. There were only two problems with the book: first, if you have not read A CompBnyofSt8rs, you may have some difficulty following the story. Unfortunately, Stasheff not provide the firsttime reader with an overview of the first book. Second, while the first book was almost entirely from the point-of-view of one character, Ramou (l.azarian?), this book varies the point-of-viewand it is occasionally difficult to tell who is thinking or narrating. However, the characterization is great, or, to be more accurate, it was great being able to see our friends again. It had been far too long since we'd seen Ramou, Suzanne, Horace, Marty, and company (thOUgh I hadn't missed Larry ... ). We also get to see the relationships evolve, especially between Suzanne and Ramou. Humor has always been one of Stasheffs better points, and this is no exception. One may spend a few moments laughing alOUd and annoying roommates while readmg. The plot is well-paced and entertaining and the writing style is straightforward enough to "stay out of the way" while you read. Overall, an absolutely wonderful bOok. -Clint Zehner 91


SFRA Renewt209, January/February 1994 Stasheff, Christopher. The WItch Doctor. New York: Del Rey BookslBallantine Books, February 1994, 404 p., cloth, $20.00; ISBN 0-34537S84-X. A WIZARD IN RHYME #3. The WItch Doctor by Stasheff is the sequel to Her Majesty's WIZard and The Oathbound WIZard In this novel, Saul Bremener is searching for his friend Matt Mantrell (hero of the previous two books) when he is transported to the same medieval realm of magic. While Saul believes that this "realm" is a delusion, he discovers rather quickly that even delusions can hurt and that it is best to act as if things are real. Even if that means using verse to perform magic of his own (not a great difficulty for one whose bachelors degree was in literature and philosophy and masters was in physics). Furthermore, a knowledge of karate doesn't hurt in a land where your worth may be decided by your fighting skill. Unlike Matt, Saul is unwilling to place himself on one side of the battle between Good and Evil; he believes first and foremost in self-determination. As he said to his guardian angel, a visible entity in this case, after he performed a supposedly "good deed": If I did something that worked for your side, it's just because it was the right thing to do under the circumstances! Don't bet I'll do it again! If something else comes up that I think is right, I'll do it, even if it's for the other side-by your rules. A worthwhile view for any member of the twentieth century, albeit quite unusual for the eight through fifteenth ... Saul then has to battle the evil sorceress Queen Suettay, with the help of a spellbound (literally) troll, a young squire, a ghost whose soul he's attempting to save, and a poet (in a world where verse is magic ... ). What makes the A WIZARD IN RHYME series different is that the world view of the medieval characters is much more accurate than most fantasy in that they see God and the Devil in everything. The Devil is always looking for an opportunity to get your soul and that God-fearing (agam, literally) people don't want any contact with those who might have a connection to nether regions and just the possibility they might is reason for fear for one's soul. For instance, m Her Majesty's WIZard, Matt summons a demon which, supposedly being on the side of Good, terrifies his allies. However, this was no ordIiJalydemon, this one went by the name of Maxwell and was the personification (demonification, demonstration?) of entropy. This gives this series a unique feel in the genre of contemporary fantasy. While the accuracy of the world view in this series is enough to make it exceptional, Stasheff has more to offer. Saul's dry wit is great fun, as are the side effects of some of the spells (reminiscent of Alan Dean Foster's SPELLSINGER series). The characters are very believable and the plot is well paced, with the philosophical discussions between Saul and various other characters assisting the plot development. My only difficulties with this book relate to the title. First, I didn't understand the reference until the end of the book (thOUgh I can be a little 92


SFRA Rene .... 209, January/February 1994 slow at times). Second, I had the old song ofthe same name running through my head from the time I bought the book and the time I was able to read it. Put simply, The Witch Doctor is the third excellent installment in an exceptional series. Read, think, and enjoy! -Oint Zehner Volsky, Paula. The Woff of Wmter. New York: Bantam Books, December 1993,357 p., paper, $12.95; ISBN 0-553-37210-6 .. Necromancy is illegal in wintry Rhazaulle, one reason being to call up too often the ghosts of the unhappily dead causes the necromancer's eventual spifflication and his necessary incarceration, which costs the state. The third brother of the ruling Ulor is a wimp who, early in the book, is seduced by necromantic power into trying for the royal seat. Halfway through Varis' attempt, he is replaced on center stage by the sixth and seventh obstacles to his success, the children Cerroc and Shallindra, especially the latter. A familiar plot, true, but with imaginative touches. Rhazaulle and Aennorve are not the usual feudal kingdoms of fantasy. Nor are battles of ghosts common. Varis' self-seduction with the drug; necromancers depend on is convincing. So is the maturing in adversity of the child Shallindra. My complaint is with Volsky's choice of words. To most of us, spifflication means temporary inebriation, not permanent insanity. In my dictionary, "to exit" is a verb for departure that carries the implication of drama, of the action noticed. She uses it for any departure of a character, even those in which the character is trying not to be noticed. Ellen Cipriano'S dust jacket painting is handsome and does actually reflect an incident in the story. -Paula M. Strain Wheeler, L. A. The Kingdom of Kanawha: An Allegory for America. Parsons, WV: Mclain Publishing Co., January 1992,335 p., paper, $12.50; ISBN 09630834-0-6. Not really an allegory, but an unusual example of the earliest genre of science fiction. Sometime after 1966, political chicanery, fiscal irresponsibility, crime, drugs, general malaise, and a series of "the big one" earthquakes in California have brousllt the United States to near-collapse. A group of average West Virginia citIZens announce the independence of the kingdom of Kanawha, an eighteenth-century name for the region. Over the next three months, the kingdom solves its problems of crime, education, economy, etc. U.S.N. (Ret.) Commander Wheeler is not a professional writer; the conversation in which his characters solve problems remind older readers of the explanations of science in Gernsback's Amazing Stories. And, to an expatriate West Virginian, his admiration of the state to which he retired and its people seems excessive. So, why review The Kingdom of Kanawha? It is both a twenty-first century version of More's Utopia, and a celebration of an ignored state, whose motto, "Mountaineers are always freemen" (" Montam' semper hbed) is the plot. 93


SJI'RA Rene" '209, January/February 1994 -Paula M. Strain WriAAt, Susan. Star Trek: The Next Generation: Sins of Col111'Tllision. New 'fork, London: Pocket Books, March 1994, 277 p., paper, $5.50; ISBN 0671-79704-2. STAR TREK: THE NEXT GENERATION #29. Picard and the company aboard the Enterproe are on a mission to save a planet from environmental disaster. While there, they rescue the crew and passengers from a sabotaged pleasure ship, including an old family friend of Worfs, a Ferengi, and some very powerful emotion-casting aliens, one of whom is killed. In the course of the investigation, Picard must question the loyalties and guilt of his Klingon Chief Security Officer and the family friend, as well as deal with the unscrupulous Ferengi. The environmental story ends up taking a backseat to the murder investigation, which is unfortunate, because another whole story could have been written around it. Wright does well in her first foray into the TREK universe, but we'll wait to see how she continues to develop. Good staple for STreaders and followers. -Daryl F. Mallett Wu, William F. Isaac As-linovs Robots in Tline: Dictator. New York: A Byron Preiss Book, AvoNova, Avon Books, February 1994,230 p., paper, $4.99; ISBN 0-380-76514-4. ISAAC AsIMOV'S ROBOTS IN TIME #4. Wu continues to develop as a writer to be noticed as he forges ahead in the footsteps of Isaac Asimov. Dictator is the fourth book in the ISAAC AsIMOV'S ROBOTS IN TIME series, packaged by Byron Preiss. In this book, robot R Hunter and his team of humans pursue MC Governor's fourth component part back to World War 1I ... to the front lines of the German attack on the Soviet Union! Braving the cold weather, lack of food, enemy soldiers from both sides, and a language deficit, as well as culture shock, Hunter and his team track the errant robot, hoping to catch him before renegade scientist Wayne Nystrom and his assistant R Ishihara. Wu's style in this book is more realistic than in his previous, whether for the more recent setting in this century (as opposed to his previous books, which covered the dinosaur era, buccaneer days, and the Roman Empire) or for his improving writing, remains to be seen in the fifth installment, which I'm looking forward to. -Daryl F. Mallett Zelazny, Roger. A Night in the Lonesome October. New York: An AvoNova Book, William Morrow and Company Inc., August 1993, 280 p., cloth, $18.00; ISBN 0-688-12508-5. Meet Snuff the Dog, pet to Jack the Ripper. Also present in the story are Count Dracula, Dr. Frankenstein, Igor, the Frankenstein Monster, a werewolf, 94


SFRA Renew 1209, January/February 1994 Sherlock Holmes and Dr. Watson. a witch. a mad monk. talking birds and cats and snakes and squirrels. a rat named Bubo. and Cthulhu mythos. Zelazny spins a delightful tale told from Snuffs point-of-view as the animals and their masters are caught up in some sort of cosmic struggle. Seemingly whimsical in its tone. our master of words keeps the reader wondenng what is really going on in London. Illustrated by the ever-delightful Gahan Wilson. this book is a true gem ... weird. but thoroughly enjoyable. -Daryl F. Mallett 95


96 S'RA Review'209, JUluary'February 1994 IN MEMDRIAM. David Caulton, fan, d. 10/16/1993 Vincent Price, actor, 5/27/1911-10/25/1993


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