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
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University of South Florida
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All applicable rights reserved by the source institution and holding location.
Resource Identifier:
S67-00101-n215-1995-01_02 ( USFLDC DOI )
s67.101 ( USFLDC Handle )

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SFRA Review Issue #215, January/February 1995 IN THIS ISSUE: SFRA INTERNAL AFFAIRS: Eection Results President's Farewell Message (Mead) Letters Editorial (Sisson) NEWS AND INFORMATION FEATURES Feature Review: "Utopia Under Attack" (Lewis) REVIEWS: Nonfiction: Christophersen, Bill. The Apparition in the Glass: Charles S S 6 8 11 17 Brockden BroTNI1's American Gothic. (Billy) 27 Haschak, Paul G. Uropian/Dystopian literature: A Bibli-ography of Literary Criticism. (Levy) 29 Hauck, Dennis William. Willian1 Shatner: A BiD-Bibliography. (Taonnina) 30 Hayden, Teresa Nielsen. Making Book. (Miller) 32 Priest, Christopher. The Book on dle Edge of Forever. An EnquiIy inro the Non-Appearance of Harlan Elison's The Last Dangerous Visions. (Barron) 33 Riall, Richard. Ardwr Rackham: 1867-1939: Books and Articles 'Al.ith His lliUStlations. McVVhorter, George T. The Arthur Rackhanl Memorial Collection. (Albert) 3S Stapleton, Amy. Uropias for a Dying World: Conten1porary Genl1an Science Fiction's Plea for a New Ecological Awareness. (Marchesani) 37 Van Rise, James (Ed). Pulp Heroes of the Thirties. (Ewald) 40 Weaver, Tom. Attack of lhe Monster Movie Makers: hlterviews j;\ddl Twenty Genre Giants. (Wright) 41


SFRA Review #215, January/February 1995 Fiction/Poetry: Boston, Bruce. Accursed Wives. (Lindow) 43 Boston, Bruce. Specula: Selected Uncollected Poems -19681993. (Collings) 44 Bova, Ben, Frederick Pohl, Jerry Pournelle and Charles Sheffield. Future Quartet Earth in the Year 2042: A Four-Part Invention. (Kelley) 45 DeCarlo, Eisa. Srrong Spirits ,u1d The Devil You Say. (Cannon) 47 Griffith, Nicola. Ammonite. (Francis) 48 Hartwell, David G. and Glenn GnU1t (Eds). Northern Stcu-s: The Anthology of Cmactian Science Fiction. (&1rbour) 49 Kerr, Katharine. Days oflvr and D

SFRA Review #215, January/February 1995 SF'RPi Executive eornmittee PRESIDENT Joe Sanders 6354 Brooks Blvd. Mentor OI-I 44060 SECRETARY Joan Gordon 1 Tulip Lane Conunadd'N 11725 VICE PRESIDENT Milton Wolf University library/322 Univ. of Nevada Reno Reno NY 89557-0044 TREASURER Robert ]. Ewald 552 W. lincoln St. Findlay OI-I 45840 Il'.'Th1EDII\TE PAST PRESIDENT David G. Mead 6021 Grassmere Corpus Christi TX 78415 SFRA Review Editor Amy Sisson Assistant Nonfiction Editor -B. Diane Miller Assistant Copy Editor Paul Abell SFRA Review (ISSN 1068-395X) is published 6 times per year by the Science Fiction Research Association (SFRA) and distributed to SFRA mem bers. Individual issues are not for sale. For information on the SFRA, see the description and application at the back of this issue. The opinions expressed in individual reviews do not reflect the opinions of the SFRA or the editor, but only that of the reviewer. Please submit hardcopy or e-mail reviews, news items, letters, etc. to Amy Sisson, Editor, SFRA Review, 1850 S 34th St #303, Grand Forks, NO 58201, E-mail ABELL@VM 1. NO OAK. EDU. (This contact information is current until the end of Jan. 1995; new information will appear in issue #216. In the interim, SFRA President Joe Sanders can be contacted for the current address.) The SFRA Review has an agreement with the Science Fiction & Fantasy Book Review Annual (Eds. Robert Collins & Michael Levy) under which reviews are exchanged between publications. If you do not wish your review to be submitted to the Annual, please indicate the same. Typeset by Amy Sisson on a Macintosh SE/30, Microsoft Word v. 4.0. Printed by Century Creations, Grand Forks, North Dakota. 3


SFRA Review #215, January/February 1995 4


SFRA Review #215, January/February 1995 SFRA INTERNAL AFFAIRS ELECTION RESULTS Congratulations to the SFRA officers for the 1995-96 term: President: Vice President: Treasurer: Secretary: joe Sanders Milton Wolf Bob Ewald jo.:111 Gordon The SFRA extends sincere thanks to Lynn Williams, Carolyn Wendell, Susan Stone-Blackburn, and Joe Marchesani for rum-ling in the election. PRESIDENT'S FAREWELL MESSAGE Thank you, members of the SFRA, for allowing me to serve as your President for the past two years. It has been immensely rewarding for me, mainly because I have had the opportunity to get to know many of you better -or for the fIrst time -and to work with many fine people. At the risk of not thanking someone who deserves it, I will mention in particular the members of the E'\ecutive Commit tee Muriel, Bob, joan, and Peter as well as the members of our Pilgrim and Pioneer selection committees, the editors of our SFRA Review, and the chairmen and organizers of our ,u1l1ual meetings. They are the ones who have done almost all of the real v,'ork, making my term pretty much "easy as pie." I want to congratulate our newly elected officers Joe ScU1ders, Milton Wolf, Bob Ewald and Joan Gordon for their continuing willingness to make SFR,\ \\'ork .. \nd also to say a heart-felt "Thank You" to those members \\'ho ran against them in the election Lyl1l1 Williams, Susc1l1 Stone-Blackburn, Joe [\iarchesani, and Carol)11 Wen dell. The SFRA could only \\1n either vvay \\1th these candidates. The SFRA is a small organization with a big ambition to en courage serious academic study of science fiction and Lmtasy literature c1l1d frlm. To do its \\'ork well, SFl\.-\ relics on \'olunteers and the 5


SFRA Review #215, January/February 1995 selfless contribution of its members. The folks I have worked with have done their best to help attain our goal. But they can't do it all. We always more help -your help. The new officers will look to you to keep this admirable enterprise ongoing. I know you will support and assist them as you have me. -DavidMead LETTERS Dear Ms. Sisson: In W.D. Stevens' review of David Hartwell's Masterpieces of Fantasy cwd Wonder (#214, p. 68), mention is made about copyright date confusion. I don't know if tlns will clarify or muddy the waters, but here goes. Upon reading Stevens' review I sped immediately to my bookshelf, and yes, there it was. Masterpieces was published in 1989 by GuildAmerica Books for Doubleday Book & Music Clubs, Inc. In other words, this very nice volume was brought out by the Science Fiction Book Club. St. Martin's has brought it out again: same book, same cover, slightly larger size, and now available to the walk in bookstore crowd. Suzette]. Henderson *** Dear Editor, Since I began "On Science Fiction Fans" (SFRA Review #207) by professing my incomplete knowledge of that subject, I have in a sense already criticized tllat article far more severely than B. Diane Miller (SFR4 Review #209). Certainly, a composite picture of five women ,md 1'."10 men I once knew fairly well cannot be defended as a major research finding. However, if I have had limited personal contact witll science fic tion Lms, I have spent a fcUr amowlt of time studying tlle docwnents produced by that community during the last seventy years, wInch provided deep backgrowld for my judgment tllat science fiction fans are, in most ways, relYk1.rkably like everybody else. The demograph-6


SFRA Review #215, January/February 1995 ics of the group may be skewed a bit -more men than women, no doubt, and perhaps a higher average level of education -but not in ways that would justify any extravagant claims about its uniqueness or spedal virtues. Miller cites a statement by Brian Stableford about the "different perspective" of science fiction readers, as if that constituted some sort of proof. Over the years, I have read dozens of similar state ments, many dating back to the editorials and letter columns of Hugo Gemsback's Amazing Stories. Considering their source, I Calmot accept these as accurate descriptions of a true state of affairs; rather, I view them as evidence of the most dangerous false assumption endemic in commentaries on science fiction. The writers al1d readers of science fiction Cal1 indeed soar to extraordinal)' heights, but objective consideration of the available evidence leads inexorably to the con clusion that, for the most part, science fiction is very ordinal)' literature written al1d read by very ordinal)' people. (And ritualistic in vocations of Sturgeon's Fallacy in no way negate the significal1Ce of that conclusion.) As someone who has devoted my life to the study of science fiction, I do not enjoy making that statement; however, as even mild academics should know, the task of the scholar is to search for truths, not to wallow in comforting al1d self-serving delusions. Personally, I do not derive my sense of self-esteem from my enjoyment of science fiction, cmd that is why, perhaps, I Calmot be considered a science fiction fan. While it is understandable, and perhaps admirable, that a science fiction fal1 should rise to the defense of her clal1, it is surpris ing indeed that Miller objects to my chmacterization of the typical fan as female. The modern world is filled with people who are determined to take offense when none vvas intended, and I'vIiller bril lial1tly exemplifies the problem. For heaven's sake! During tl1e last twenty-five years, feminists have railed against the practice of routinely regarding al1 unl\J10\\11 person as male, and if I had described the typical fal1 as a man, I might have been attacked for making such a blatal1tly sexist assumption. Novva woman is objecting to my regarding an unknown person as female. Truly, ,ve have stepped through the looking glass. What, pray tell, is a writer supposed to do when the circumstances of composition compel her to specify the gender of al1 unspecified person? (Or should it be "compel him"?) 7


SFRA Review #215, January/February 1995 It would be fascinating to hear Miller explicate the logical grounds for her displeasure. She implies that, since the majority of science fiction fans are male, all references to members of that group must employ the masculine pronoun. Does this mean we are once again obliged to describe as male any unspecified person in a group that happens to be more than 50010 male (doctors, lawyers, engineers, college professors, and so on)? Perhaps the point is that one may refer to an unspecified person as female only if the reference is wholly complimentary. If Miller had bothered to read any of my other articles, she would have realized that, far from representing any special effort to criticize or condescend to women, my descrip tion of the typical fan as female was simply another instance of my fo11ovving a routine policy designed to display respect for women. And no editor, proofreader or reader has ever objected to that policy until now. Perhaps there is something peculiar about science fic tion fans after all. Sincerely, Gary Westfahl EDITORIAL This issue of the SFRA Review may look more familiar than you expected. In #214 I discussed changing both the cover and the in ternal typeface, but neither have been changed significantly at this time. Very few members expressed a preference for a particular typeface from tl10se I sampled in my editorial last issue, and some of those said they preferred the New York font which I have been using all along. The cover ... well, that's a longer story. Over ThcU1ksgiving I flew out to Oakland, California to visit with Charles Brovm of Locus, and in January I will be relocating to that area to join his staff. I intend to continue as Editor of the Review-I'm doing it now while working full-time so 1 don't i.U1ticipate any major problems doing so vvith a different full-time job. However, I \\111 have to relocate the homebase of the Review and I may have to a minor adjustment in the bimonthly mailing date depending on the Locus monthly sched ule so that both crunches don't come at the same time. I vvill announce ,my chcU1ges as soon as possible, so you vvill not be kept in 8


SFRA Review #215, January/February 1995 the dark! In any case, I felt that changing the cover format now when I may be changing printers within the next few months didn't make a lot of sense. I don't have my new address yet, but I will be here in Grand Forks until January 10 at least and can receive mail at my current address Wltil January 25, and I will give my new address to President Joe Sanders the minute I move in. This issue is also slightly slimmer tllaIl #213 aIld #214. Appar ently there has been a large increase in tlle price of paper recently; issue #214 was more expensive than aIlticipated, so I aJ11 trying to get costs back down by having fewer pages. The number of fiction reviews will most lik.ely decline in the near future. There are more in tl1is issue than I planned, primarily because I didn't have as many nonfiction reviews as I vvould have liked. However, I tl1ink you will fmd maI1Y of the fiction reviews in tlus issue to be of greater interest than usual, as they include 1:\'\'0 poetry volumes aIld recent critical editions of works by H.P. Lovecraft, Osip Senkovsky, aIld Barry N. Malzberg. And don't overlook Suzette Henderson's review of Batman: Knightfall in tl1is issue. While I don't intend to carry reviews of tl1is type of fiction often, I felt that Suzette would be able to examine tlle recent trend of hardcover comic-based novels, and her review is in formed and interesting. I do still hope to increase the potential pool of reviewers, espe cially for nonfiction, so if you're interested in reviewing please write. The lack of a list of current ,md fonhconung books in tlus issue is not em indication that I've dropped this feature. I left it out this time partly due to space, ,md am considering carrying it in every other issue so that each listing will have fewer repetitions. In the meantime, Diane t'>liller is moving along vvith piaI1S for the 1995 SFRr'\ Annual t'>Ieeting please see the information update on page 10 as well as the registration form at the back of this issue. I have already planned to travel from California back to Gr,md Forks for the conference and to see some old friends, both in ,md out of SFRA. It's coming up faster them you tlunk -I hope to see you there. Happy Reacting, Amy Sisson 9


10 SFRA Review #215, January/February 1995 1995 S:F:R..A. AnnuaL Con f erenee -Update June 22-25, 1995 Grand Forks, North Dakota The 1995 Science Fiction Research Association yearly conference is scheduled for June 22-25 in Grand Forks, North Dakota, at the University of North Dakota. Those registering by January 31 will receive a box of chocolate covered potato chips, a Dakota treat. A registration form is at the back of this issue. CONFERENCE FEE: $90 until January 31, 1995 $105 until May 1, 1994 $115 until June 21, 1994 $125 at the door For accommodations, we have inexpensive ($25/night) individual dorm rooms lined up right on campus but this is not your average dormitory! Swanson's rooms are air-conditioned with private baths; it has a 4-story atrium and a glass elevator. For those who prefer a little more luxury or need more room for families, rooms are blocked at the Holiday Inn ($48-$58) and Econolodge ($33-$36). Rates will be valid before and after the conference, June 19-30. We are planning a 2-hour Riverboat dinner cruise on the Dakota Queen for Friday night of the conference ($25.50 per person). For papers/presentations, please submit an abstract or topic proposal to Head of Programming: Bruce Farr, 1 575 E Cheery Lynn Rd, Phoenix AZ 85014. For discounts on plane fares ront<1ct Official Travel Agent: Rick Foss, Ladera Travel, 1-800-624-6679. Because lunches (Friday & Saturday included in the conference fee) will be on campus during the conference, it is suggested you read the following book for discussion: The Science Fiction Stories of Rudyard Kipling, edited by John Brunner; Citadel Twilight/Carol, $9.95, 178 pp., ISBN 08065-1508-2 (first published by Tor, 1992). The book can be ordered by phone with a credit card at 1-800-447 -BOOK. For more information, contact: B. Diane Miller 1402 4th Avenue North Grand Forks, ND 58203-3145 (701) 775-5038 E-mail: Internetud068741@vm1.nodak.eduorGEnied.miller14


SFRA Review #215, January/February 1995 NEWS AND INFORMATION NATIONAL AIR & SPACE MUSEUM LECTURE SERIES TO FEA TURE SFRA MEMBERS The Science Fact and Fiction Lecture Series 1995, sponsored by the National Air and Space Museum in Washington, D.C., will feature talks by SFRA members as well as other noted members of the science and science fiction communities. Dr. Arthur B. Evans, publisher of Science Fiction Studies, will speak on january 24, 1995 about the influence of jules Verne on scientists and how science fic tion can be successfully used in the dassroom. On january 31, 1995, Dr. Leroy Dubeck, co-author of Voyages: Lecuning Science Through Science Fiction Films (reviewed in issue #214, p. 40), vvill speak on the potential role of science fiction films in the dassroom. joining Dr. Dubeck on the same date is Dr. Paul Nallln, author of Time Madlines: Time Travel in Physics, Metaphysics, and Science Fiction (reviewed in issue #213, p. 56), \\lith a discussion of the fundamental scientific concepts of time and time travel. Other speakers in this lecture series are Octavia Butler, an award-winning author and a Guest of Honor at the 1994 SFRA,. Annual Meeting; Mary Henderson, curator of the popular "Star Trek" Smithsonian exhibit; ;md Yvonne Fern, author of Gene Roddenbeny: The Last COIwersatioIl. The guest speakers' books \\ill be on sale in the Museum Shop prior to and follovving the lectures. For information on the lecture series, or on the museum's film series titled "Worlds of Tomorrov\: Space Fiction Film Series 1995," call 202-357-2700 or 202-357-1729. Dcwid Mead and Amy Sisson UPCOMING EVENTS OF INTEREST Febmary 1995: THE 17TH AN1\TUAL EA.TON CONFERENCE ON SCIENCE FICTION AND FANTASY. The focus is on "Unearthly Visions: The Graphic Arts of Fantasy and Science Fiction." Areas of coverage in clude comic books, graphic novels and other forms of narrative \\'hid1 integrate text and illustrations, but exclude film, T\! and video. Con11


SFRA Review #215, January/February 1995 tact: George Slusser, Curator, Eaton Collection, Tomas Rivera library, University of California, Riverside, CA 92521. Iuly 17-19, 1995: CHARLOTTE PERKINS GILMAN: OPTIMIST RE FOR}.1ER. An international conference at the University of liverpool. Contact: Val Gough, Dept. of English, University of liverpool, liver pool L69 3BX, England. Summer 1995: "MEETING THE FUTURE." A summer-long festival of science fiction organized by the Cheshire library Service. Events inelude talks by Chris Evans, Colin Greenland, Brian Stableford, Bob Shaw, Gwyneth jones, Stephen Ba.xter, Simon Ings, Andy Sawyer, and Roger Taylor. Contact: Cheshire libraries HQ 11 Hoole Road, Chester CH2 3G, England. Sdence Fiction Studies REALMS OF FANTASY DEBUT Fall of 1994 saw the debut of Realms of Fcwtasy, a new full-size and glossy full-color fantasy fiction magazine published by the Sovereign ]'Vledia Co., Inc. The magazine vvilliook familiar to readers of Science Ficrion Age, because the sister publications are virtually identical in style ,md format and share much of the same advertising. The difference, of course, lies in the content of the fiction, with Realms devoted solely to fantasy and SF Age primarily to science fiction, although the latter's editor Scott Edelman reportedly will con tinue to use one fantasy story per issue. At the helm of the new publication is editor Shawna McCarthy, who brings to the job several years' experience in magazine editing (JAsfm) book editing, and literary agenting. The premiere issue features i1ction by L De,m james, Chuck Rothntm, Billie Sue Mosiman, Roger Zelazny, Saral1 Zettel, Neil Gaiman, and jean Lorrah. Like SF Age, Realms contains departments on books, movies, and games, as well as ,m "art gallery," which in this issue features Brian Froud's faery paintings. In addition, each fiction piece is illustrated with a full-page color painting by an accomplished Lmtasy artist. -Amy Sisson 12


SFRA Review #215, January/February 1995 POPULAR CULTURE COMMEMORATED In 1995, the United States Postal Service will issue twenty stamps to commemorate the centenary of the newspaper cartoon strip. The characters depicted will include Little Nemo, Flash Gordon, and Alley Oop. Michael Klossner SPECIAL ISSUE OF FOUNDA TION Foundation: The Review of Science Fiction will have a special issue devoted to Media SF which will come out shortly before the World Con in Glasgow next year. It will be issue number 64 (Summer 1995). I am interested in cross-cultural studies, and already have an American scholar offering a paper on the British TV series "Red Dwarf." I am particularly interested in American essays on British/European TV or fIlm, and European contributions on American TV or film. Foundation is also open to other suggestions. Please contact Edward James at Foundation, The University of York, The King's Manor, York, Y01 2EP, United Kingdom, or via e-mail at, or by fax at the UK number 0904-433918. Copy date would be at the end of May 1995. Edward James, Editor, Foundation CALL FOR PAPERS The 1995 Science Fiction Research Association yearly conference is scheduled for June 22-25 in Grand Forks, North Dakota. The conference fee is $90 until January 31, 1995. I'm currently looking for paper and presentation proposals and panel suggestions. The Uni versity of North Dakota'S multi-media facilities are fantastic and available for your presentation. If you have an idea how to take advantage of these facilities for your topiC, let me know. Please contact me regarding questions, suggestions, registration, volunteering for panels, or proposed topics. The deadline for receipt of abstracts is May 1, 1995. Send abstracts to: B. Diane Miller, 1402 4th Avenue North, Grand Forks, ND 58203-3145. Phone (701) 775-5038, E-mail: Internet ud068741@vml. or GErtie d.miller14. -B. Diane Miller, Conference Chair 13


SFRA Review #215. January/February 1995 PARA-DOXA As its name suggests, Para -doxa represents a paradoxical under taking: it is an academic journal devoted to the study of non-aca demic literature. This literature, called paralittera.ture by the French, encompasses a broad range of genres and sub-genres including science fiction, supernatural fiction, fantasy, horror, the occult, adventure stories, mysteries and spy novels, "romance" novels, chil dren's literature, bandes dessinees (graphic novels), comics studies, lost-vvorld tales, popular culture, folklore, contemporary mythology, utopian literature, "md more. Perra edoxa acknowledges the parallel existence of two literatures the one traditional, canonized, "academic," the other popular. The editors invite contributors to explore the interaction between these two legacies. The editors hope to stimulate a vigorous discussion of the role this literature plays in defining what we think of as our literary heritage, and they intend to create within the pages of Para -doxa a forum for em open-minded and unbiased exchange of ideas central to this concept. Paraedoxa is a quarterly, refereed publication that invites high quality, jargon-free contributions with a focus on the critical, theo retical and creative aspects of popular literature. While articles will be published primarily in English, non-English submissions are also accepted. Exceptionally, non-English articles will be translated into English or published in the original language. Para -doxa welcomes the scholar, the independent investigator, the author, and the interested reader to a stimulating investigation of popuLl.f literature, its works, writers and traditions, and the creative ideas that define it. David R. Willinghcun, Mm1:1.ging Editor, Para-doxa COLLECTION fOR SALE -AT REDUCED PRICES I've sold about S4,500 of my collection. I WCU1t to sell as much of the bal,mce as possible and have reduced prices cu10ther 20-5()o/o on the 350 \'\'orks of i1ction (about 20% collectibles, \'vith about 200 pa perback reading copies (

SFRA Review #215, January/February 1995 new review copies, plus magazines about SF. $1 brings the revised list from Neil Barron, 1149 Ume Place, Vista, CA 92083-7428. --Neil Barron ANATOMY OF WONDER PUBLISHED The fourth edition of Anatomy of Wonder: A Critical Guide to Science was published tlus January by R.R. Bowker. I posted a lot of updated information to tlle page proofs in November to make the guide as current and useful as possible. Thls new edition, the last I will edit, is about 20 pages longer than its 1987 predecessor, approximately 910 pages. For a variety of reasons, coverage of SF not translated into English (206 pages in AOW3) was dropped, although guidance to such coverage is provided along witll a list of translated annotated books. The new edition includes annotations of approxi mately 2,100 works of fiction, 20010+ new to tllis edition, plus another 800 works of nonfiction. They've been evaluated by many new contributors, e.g., Paul Carter on tlle "golden age," Michael Levy and Brian Stableford on contemporary SF, Gary Wolfe on history and criticism, and Demus Kratz on teaclung SF. There are a number of new features as well. SF poetry and comcs are tlle subject of two sections. A list of tlle 595 autllors of annotated fiction is keyed to ten other sources of biocritical information, such as tlle new Encydo pedia of Science Fiction. A theme index supplements the author and title indexes. The best books listing, which now identifies books recommended for smaller libraries, is supplemented by lists of key award winners (fiction and academc awards), series, orgaIuzations aIld conventions. In short, I included everytlling I could tllink of tllat would enhaI1Ce the guide's usefulness. Since it's a short discow1t book not likely to be stocked by chain bookstores, you may wish to order a personal copy via credit card directly from the publisher at 1-800-521-8110 for $52 plus your local sales tax and shipping. The ISBN is 0-8352-3288-3. -Neil Barron WHAT DO I READ NEXT? .. .is a common question, especially by readers of genre fiction. It's also the title of all annual volume published by Gale Research 15


SFRA Review #215, January/February 1995 each fall (Y. 5 last October), covering books published the preceding calendar year in six areas: SF, fantasy, horror, romances, westerns and mystery/detective. The listings include about 200-250 titles in each category, almost all originals. Each entry includes author, title, publisher, series, theme headings (story type), names and jobs or identification of major characters, time period, locale, plot summary, review citations, selected other books by the author, and similar books by other authors. Multiple indexing provides access by series, time period, locale, genre, character name, character job, author, and title. Although the plot summaries are purely descriptive, year-in review essays by the contributors provide evaluative comments along with a summary list of best books and a list of key awards for each field. I coordinate the work of Scott Imes (fantasy and SF), manager of Uncle Hugo's bookstore in Minneapolis, Michael Levy (SF year-in-review) and Stefan Dziemianowicz (horror), tabulate the awards, and include mention of significant nonfiction of likely inter est to the book's users. Gale is big in tl1e library market, for which this annual (currently $95) is intended, and makes sure it appears on time. Nominally similar works, but not really competitors, include tl1e Locus annuals covering 1984-1991 and tl1e Science Fiction & Fantasy Book Review Annual (Meckler, now Greenwood) covering 1987-1990. The Annual covering 1991 books will not be published until 1995 at the earliest, and it may well die of these delays. An nual surveys are also included in the best-of-the-year anthologies, all of which are far less costly than these library-oriented annuals and give you the bonus of a lot of the better short fiction of the pre ceding year. -Neil Barron 16


SFRA Review #215, January/February 1995 FEATURE REVIEW UTOPIA UNDER ATTACK by Arthur O. Lewis Booker, M. Keith. The Dystopian Impulse in Modern Literature: Fiction as Social Criticism. Westport, COlmecticut: Greenwood Press, 1994, 197 pages, hardcover, $49.95, ISBN 0-313-29092-X. Booker, M. Keith. Dystopian Literature: A Theory and Research Guide. Westport, Connecticut: Greenwood Press, 1994, 408 pages, hardcover, $75.00, ISBN 0-313-29115-2. The tvvo books considered here were published on the same day and together provide not only a theoretical basis for understanding modern dystopian fiction but a well-documented reference work that supplements and strengthens that understanding. Booker joins many other critics in finding that twentieth-century utopian thought has undergone a shift from utopian to dystopian emphases, but, in addi tion, he devotes much of his work to a demonstration of the view that "utopian and dystopian visions are not necessarily diametrical opposites" (Impulse, p. 15). Although occasionally this consideration leads him to questionable classification of a specific work as dystopian rather than utopian (and vice versa), his discussion of even such works is fluent and makes sense in terms of his general approach to his subject. The DystopicU11mpulse in Modem Literature: Fictjon as Social Criticism is an excellent study of the dystopian impulse and its literary and social cOlmections. The first chapter, "Introduction: Utopia, Dystopia, and Social Critique," provides a philosophical basis and a general outline of works to be discussed. The well-chosen opening reference is to Disneyworld, "a marvel of teclmology and efficiency that ostensibly serves as a major mcx:lern embcx:liment of the kinds of utopian dreams that have visionary thinkers throughout the history of Western civilization ... a cL:tzzling combination of magic and machin ery, the double nature of which mirrors the nature of the utopian project itself, which takes it inspiration from both fantasy and tech nology" (p. 1). Disneyworld draws much of its clientele from that 17


SFRA Review #215, January/February 1995 segment of society that seeks to escape the problems of everyday life. Disneyworld (which depends heavily on smoothly operating technologies) contains both the utopian goal of happiness and harmony and the dystopian fear of domination of human beings by technology and its servants; it is, thus, "both the idealization of the American dream and the ideal carceral society of consumer capital ism" (p. 3). It is this same combination of utopian goal and dystopian fear, Booker suggests, that has marked post-Enlightenment utopian thinking and led to the dystopian writings that have to a large extent dominated twentieth-century thought Following these brief statements of his major theme, Booker moves quickly to consider what several influential thinkers have had to say about the major role science and/or technology have played in utopian thinking. Where increasing scientific knowledge was once regarded as a guarantee of the continuing upward progress of humanity, advances in science and teclmology in the nineteenth cen tury led to questions about how much progress there would actually be and whether it would, in any case, be good for people. Nietzsche, Marx, and Freud, all of whom had at least some utopian hopes, wrote of the hazards of such progress and the dystopian society it could lead to. Later thinkers (Adorno, Bakhtin, Baudrillard, Foucault, Habermas, Horkl1eimer, Jameson, and Marcuse, to name a few), fol lowers and opponents alike of one or more of the earlier three, have been even more specific about the prospects of either utopia achieved or dystopia prevailing. Creators of twentieth-century utopias ,md (more often) dystopias have frequently been similarly concerned vvith the (perceived) destructive impact on society of con tinuing scientific ;md technological advances. The ren1ainder of the book is orgcU1ized "principally according to social and political, rather tl1CU1 literary criteria ... on the assumption that the modem turn to dystopia is largely attributable to perceived inadequacies in existing social and political systems" (p. 19-20). Booker agrees with tl1e common view that t\'Ventieth-century politi cal systems GU1 be classified according to t\'\'O basic strategies: bour geois capitalism, as in the United States, cu1d Communism, as in the Soviet Union. Put cu10ther way, the most significcu1t differences in twentieth-century society are the differences bet\'Veen democracy and totalitaricu1ism; both systems have been subject to abuse and, tl1US, the target of dystopicu1 Cliticism. 18


SFRA Review #215, January/February 1995 Three specific dystopian works, We, Brave New World, and Nineteen Eighty-Four, are treated with a chapter each, respectively titled "Anticipating Stalin," "The Early Bourgeois Dystopia," and "The Totalitarian State after Stalin." Although all tlrree works have been extensively studied over the years, Booker's approach brings out both parallel and comparative aspects tlrrough examination of tl1e is sues they consider under the rubrics of science and technology, reli gion, sexuality, literature and culture, language, and history. Discus sion of these "great defIning texts of... dystopian fiction" (p. 20) leads logically to parallel chapters on post-World War II bourgeois dystopias, contemporary communist dystopias, and postmodernist utopias. Booker fInds the most signillcant tl1eme of Hle, the earliest modem dystopia, to be fear of "tl1e dehumanizing potential of technology" (26). Zamiatin, echoing tl1e Chemyshevsky/Dostoevsky, Westem ra tionalism/Slavic mysticism controversy of the nineteenth century, places the misuse of science at tl1e center of his warning about the stagnation and tyralmy tl1at frequently follows revolution. Brave New World is al1 "exaggerated version of capitalism" (p. 63), al1d it is stimulation of production and consumption, preferably tlrrough tl1e use of increasingly powerful teclmological developments, that is the engine driving the economy. Social stability is achieved in large part by providing the people vvith pleasurable pastimes so that they "live entirely in the present, vvith no sense of either past or fu ture" (p. 64). In Nineteen Eighty-FoLLr (it is a flaw occurring tlrroughout both books that Booker calls it 1984) the ruling party acknowledges that its only reason for being is to perpetuate its own power. All activi ties are subordinated to this goal: adaptation of religious al1d sexual practices, revision of language and history, the constal1t surveillance by Big Brother's cameras. All add to the domination of the mal1Y by the few. In this, as in We and Brave New World, those protesting against the State are doomed to failure; D-S03, ]olm the Savage, al1d Winston Smith are alike in placing emotion, irrationalism, and indi viduality above service to the State, but they Gumot force aside the heavy weight of the totalitarian society and must eventually die or be braimvashed into conformity. 19


SFRA Review #215, January/February 1995 Chapter 4, "The Bourgeois Dystopia after World War II," considers the shift in the West from a primarily utopian to a primarily dystopian point of view, to the point where ostensibly utopian works frequently include themes and actions found in contemporary dystopian works. Booker's treatment of one such work, Skinner's Walden Two, emphasizes this phenomenon as, in part, a reaction to Stalinism. Here, four clearly dystopian works are examined. Thus Sinclair Lewis earlier It Can't Happen Here is viewed as a reaction to right wing extremism; Vonnegut's Player Piano as reaction to replacement of individual workers by advanced machinery; Vidal's Messiah as reaction to marketing (in this case religious) aspects of consumer capitalism; and Bradbury's Fahrenheit 451 as reaction to the state-industrial advocacy of a mass culture that leads to public conformity and mindlessness. Chapter 5, "Postmodernism with a Russian Accent: The Contemporary Conununist Dystopia," deals chiefly with four influential writ ers of dystopia whose works show "a general skepticism toward the ability of art to make a positive difference in real world issues" (p. 115), a characteristic that Booker finds common to postmodernist texts. With their attacks on Stalinism, Arkady and Boris Strugatsky, Vassily Aksyonov, Andrei Sinyavsky, Vladimir Voinovich and others continue "the rich comic tradition" (p. 116) of earlier Russian writers such as Gogol and Saltykov-Shchedrin and are themselves part of the worldwide postmodernist movement in dystopian fiction. As Booker points out, their central technique is paroLly of both utopian and dystopian literature. In earlier cases Morson classifies them as "meta-utopias" such parodies showed no preference for one generic mode over the other. But in the postmodernist dystopian fictions, a radical skepticism makes it possible to distinguish between utopia and dystopia. Edith W. Clowes' recent Russian E\perimenral Fiction (1993), published too late for Booker to have had access, deals with much of the same material in greater detail, also under the rubric "meta-utopias." In Chapter 6, "Skepticism Squared: Western Postmodernist Dystopias," this group is represented by Samuel Delaney's Triton, William Gibson's cyberspace trilogy, Thomas Pynchon's Vineland, and Margaret Atwood's The Handmaid's Tale. For the most part, works such as these add to the skepticism about utopia already common to fiction "an additional doubt that such skepticism can be truly 20


SFRA Review #215, January/February 1995 effective" (p. 141). There is in them an uncertainty about the boundaries between utopia and dystopia that blurs the distinctions between them, imagined futures that are "difficult to place unequiv ocally within the traditional utopian-dystopian dichotomy" (p. 142), realistic descriptions of the present side by side with dystopian pro jections of the future, humor that may not be humor. The book concludes with a "Postscript literature and Dystopia," that defends utopian and dystopian literature as serious criticism of the real world. It has its place as an art that engages reality seri ously and offers social criticism that can serve to keep alive utopian ideas of social change while at the same time warning against the dangers that inevitably arise when these ideals degenerate as in the Soviet Union, for example into dogma. Such warnings can keep hope for future improvement of society from withering away or de scencling into nightmare. Dystopian literature: A Theory and Research Guide not only provides strong support for what has been said in Dystopian Impulse but, as designed, is a very useful reference work. The brief "Introduction: The Turn to Dystopia in Modern literature," lays out succinctly this progression as Booker sees it. A central passage is worth quoting at length: "Briefly dystopian literature is specifically that literature which situates itself in direct opposition to utopian thought, warning against the potential negative consequences of arrant utopianism. At the same time, dystopian literature generally also constitutes a critique of existing social conditions or political systems, either through tlle critical examination of the utopian premises upon which those conditions and systems are based or through the imaginative extension of those conditions and systems into different contexts that more clearly reveal their flaws and con tradictions. By this definition, dystopian literature is not so much a specific genre as a particular kind of oppositional and critical energy or spirit" (p. 3). One need not agree wholeheartedly with this view (which is modified and strengthened in later passages) to find Booker's selection of works for discussion generally apt The rest of tlle book is divided into five parts and a bibliogra phy. Part One, "A Guide to Selected Modern Cultural Criticism witll Relevance to Dystopian literature," briefly reviews (3-5 pages each) dystopian-related ideas of eight such critics: Adorno, Althusser, 21


SFRA Review #215, January/February 1995 Bakh tin Benjamin, Foucault, Freud, Marx, and Nietzsche. Similarly, Part Two, "A Guide to Selected Utopian Fictions," deals with Bacon, Bellamy, Campanella, Gilman, More, Morris, Plato, and Wells. These first two parts are useful preparation for the other three on "Dystopian Fictions," "Dystopian Drama," and "Dystopian Films." An up-to-date, 32 page bibliography includes both primary and secondary works. Most of the books mentioned even briefly in The Dystopian Impulse are considered in greater detail in this book. Booker makes a good case for the importance of the thinkers dis cussed in Part One. Accepting a widely-held position that utopian literature is a way of examining society, often with a view toward changing it, and tl1at, similarly, dystopian literature may well be the epitome of the literary impulse to social criticism, he maintains that social thinkers such as those discussed in Part One have played major roles in the support cU1d perhaps even the initiation -of contemporary dystopian thought. Thus, Bakhtin's work "offers one of the most powerful theoretical frameworks within which to read dystopian literature" (p. 20), "Foucault's various meditations on his tory ... contain much of relevance to utopian and dystopian thought" (p. 28), and Nietzsche "is probably the single thinker who has had the greatest impact on artists and writers of the twentieth century" (p. 35). The chosen eight of Part One are representative of a much larger number of thinkers whose influence on modenl society can be seen in dystopian literature. Part Two is a "representative sampling of some of the most im portant and influential texts in the [utopian] genre" (p. 41). Booker's choices can easily be supported. The works considered are summa rized accurately and granted places of prominence in the utopian tradition. However, this book is not about utopia except as a starting point for the discussion of dystopia, and each utopia in tum is shoV\'l1 to contain many of the same elements that twentieth century thinkers regard as dystopian, such as the importance given to tech nology, order, and elitist leadership, the overshadovving of the indi vidual by the state, cU1d the support of a de facto class society. Har rington's The Commonwealth of Oceana (1656) and Calienbach's Eca topia (1975) would be useful additions to this section. Part Three, by far the longest section of the book, is a "representative sampling" from the last century that "indicates the 22


SFRA Review #215, January/February 1995 diversity of modern dystopian fiction and the quite broad way dystopian fiction appears to resonate with the mind set of modem writers from a variety of cultures around the world" (p. 70). Some 80 works by 56 writers are discussed, some in detail, others only briefly. The selections are on the whole a good introduction to the subject. Few would quarrel with inclusion of such obvious works as Brave New World, We, Nineteen Eighty-Four, The Handmaid's Tale, When the Sleeper Wakes, The Makepeace Experiment, and others like them. A case can also be made for the appearance of dystopian elements in otherwise utopian works, such as Erewhon and Woman on the Edge of Time, but Skinner's intention in Walden Two is so obviously utopian that its place here rather than with other utopias is surprising, in spite of hindsight among utopian scholars that treats it as a dystopia. It is also something of a stretch to include joyce's Dubliners unless we are prepared to add USA, Remembrance of Things Past, The Magic Mountain, and the like, all of which certainly contain some "dystopian" aspects, but whose major thrust is else where. Missing works that seem to me to be worthy of inclusion on Booker's own principles are john Brwmer's Stand on Zanzibar (1968), Aldous Huxley's Ape and Essence (1948), David Karp's One (1953), and Bernard Wolfe's limbo (1952). On the other hand, the list occu pies well over half of the book, and I cannot fault as too short a list of some eighty, generally well-chosen, diverse and representative works. Part Four includes fourteen "of the more important examples of dystopian drama, selected to indicate the range and variety encom passed by that genre" (p. 301). Plays by Bond, Brecht, Capek, Havel, Kaiser, Ionesco, jovanovic, Mayakovsky, Weiss, and Witkiewicz offer an excellent and representative picture of twentieth-century theatre. Of late, the best-known of these, Capek's R.U.R., has been regarded as an example of technology gone wrong and thus dystopia; there is, however, at least some support, though not from Booker, for the view that the final admonishment to the robots Primus and Eve (supported by Claudia Novack-jones' recent translation, especially the final monologue) shows less of teclmophobia and more of utopian though perhaps not truly human hope. A case could be made for including several O'Neill plays in this section. The thirteen movies of Part Five are all well known, obvious choices, ranging from Metropolis (1927) to the made-for-TV Wild 23


SFRA Review #215, January/February 1995 Palms (1993). The usual dystopian elements -authoritative com puters, post-catastrophe ruined worlds, all-controlling governments, debased utopian ideals, technology run rampant, overpopUlation and its opposite, low fertility, and robot revolt are present in one form or another in each. Booker's choices are excellent, especially when considered against the dozens, perhaps hundreds, of such films now available in movie houses and on 1V. One excellent future addition to his list might be the recent Demolition Man, a typical shoot-'em-up vehicle for Sylvester Stallone and Wesley Snipes that satirizes as against human nature the dreamy, nonviolent, but dictatorial utopia that some contemporary idealists have posited as the better world that would follow the all-too-possible destruction of our present so ciety. Booker is, of course, not the first to maintain that the dystopian view has been around as long as the utopian and that their literary manifestations, often separated by the slightest of differences, could not exist independently of each other. There have been several ear lier books dealing with the relation between utopian and dystopian fiction, and he specifically acknowledges, among others, Kateb (1963), Hillegas (1967), Walsh (1972), Morson (1981), and Kumar (1987). Three earlier critics who might have been expected to receive some notice Amis (1960), Berger (1976), and Warrick (1980) -do not appear in either text or bibliography, although each dis cusses a dozen or so works that appear on Booker's lists. However, the latter three are more interested in the anti-utopias and dyslopias of science fiction than in the broader strands of human culture with which Booker is concerned. Also omitted from both text and bibliography is any mention of poetry that might meet Booker's defmition of dystopian, e.g. much of T.S. Eliot, especially The Waste Lane (1922), as well as shorter poems such as Benet's "Nightmare Number Three" (1935) and Auden's "The Unknovvn Citizen" (1940). A few minor errors should be mentioned: in Impulse citations to Gybrgy Dalos' 1985 (p. 139) and Jan1es Hynes' "On Gibson" (p. 151) are not reflected in either index or bibliography, though both appear and are properly documented in Guide. As already noted, Orwell's title is used incorrectly throughout both books. The term "dystopian," as used by Booker, covers so wide a range of possibilities that the utopian ideals criticized are often, as in the case of Walden Two, oven,yhelmed. Perhaps we need to coin a new term, "utopia-24


SFRA Review #215, January/February 1995 osis," to reflect Booker's feeling that utopian works are diseases, the victims of a widespread twentieth-century retreat from social ideals. No review, however long, can do justice to Booker's carefully crafted, scholarly discussions. He obviously knows and understands the works, the contexts in which they have appeared, and the impact they have had on each other and on society. Not the least of his ac complishments is that he has drawn attention to dystopian works by writers with whom many of us have not been as familiar as we might wish. His selections for discussion are, indeed, wide-ranging and representative, and he has succeeded in his "wish to underscore the role of dystopian fiction as social criticism" (Impulse, p. 18) and to provide" summary coverage of a wide range of dystopian works in a variety of genres" (Guide, p. 8). Both books can be regarded as essential to any future study of dystopian literature. Certainly, the bibliographies can lead us all to further fruitful investigations in the field. I recommend both without reservation. 25


SFRA Review #215, January/February 1995 26


SFRA Review #215, January/February 1995 NONFICTION REVIEWS Christophersen, Bill. The Apparition in the Glass: Charles Brock den Brown's American Gothic. Athens, Georgia: University of Georgia Press, 1993, 208 pages, hardcover, $35.00, ISBN 0-82031530-3. In the process of appropriating the English gothic novel for an emerging American literature, Charles Brockden Brown not only pioneered the way for the great dynasty of gothicists who followed him (e.g., Poe, Hawthorne, James, Bierce, Lovecraft, Anne Rice, and Stephen King) but also determined the psychological orientation that American gothic fiction would take over the next two centuries. Bill Christophersen's valuable study of Brown's four major novels does not discount or minimize the importance of this psychological tendency' but its real merit lies in the author's use of historical parallels to illuminate the allegory of an uncertain American republic implidt in Brown's nightmare fictions. The Apparition in the Glass subtly explores Wieland, OmJond, Arthur Mervyn, and Edgar Hrmtly as texts offering considerable insight into how post-revolutionary Americans viewed their country and tl1eir own identity as Americans. Of the critical approaches developed in the last two decades, New Historicism has one of the most secure claims to our attention. Christophersen employs tl1is approach to great advantage in his study of Brown's fiction, consistently relying on primary and secondary sources for his argument tl1at Brown's works reflect socio political anxieties typical of the 1790s as well as more universal anxieties about the nature of humankind. Brown's novels suggest not only that we are blind to our inner selves but also that we have placed undue confidence in the capabilities of human reason. The mystery of identity and tl1e power of irrationality, Christophersen argues, specifically relate to an American nation less than two decades old when Brovvn began writing. He is especially persuasive in establishing Brown's gothic horrors as an ambivalent response to the depraving institution of slavery and the excesses of the French Revolution, particularly the Reign of Terror. In sum, Christophersen maintains that in his fiction Brown investigates (and finds wanting) the very concepts tl1at we associate witl1 tl1e brave new republic of the late-eighteenth century: freedom, individualism, rationalism. 27


SFRA Review #215, January/February 1995 Wieland, Brown's horrific tale of insanely-destructive religious enthusiasm (written on the eve of the Second Great Awakening), unfolds as a Calvinistic revelation of universal depravity, for evil (or irrationality) is our conll10n aptitude. Christophersen astutely de tails how Brown's theme conflicts with the optimistic assumptions of the Enlightenment by skeptically questioning both innate human nature and the American experiment in the efficacy of rationalistic government. Ormond, a decidedly lesser work, employs the Yellow Fever as a metaphor for the evil that lies dormant in everyone. Christophersen contends that Brown's novel dran1atizes how we are all "secret witnesses" of the operations of our lower impulses. ArtilWMervyn, a novel that underscores the "deceptiveness of appearances, the indeterminacy of truth, and the unreliability of fiction" (p. 90), presents its protagonist as a human enigma, a disturb ing bundle of contradictions who makes virtue a technique in the feverish pursuit of money. To reason, in this novel, is to rationalize on the basis of a "self-justifying materialism." Christophersen relates Arthur Mervyn to the slavery issue brought to the forefront in Brown's era by America's ambivalent reaction to the West Indian re bellion, but he ultimately considers the novel a refutation of the Jef fersonicll world view that agrarian life is intrinsically good because doseness to the soil brings human nature doser to organic nature. Edgar HWltlybegins with its protagonist's search for a murderer and ends vvith his discovery of his own capacity for evil and violence. Christophersen aptly links tIus descent into savagery to tI1e atrodties perpetrated by "reasonable" French revolutionists. Employing the image of America as a blind sleepwalker, tI1e novel questions the value of self-knowledge and implies that self-ignorance might be preferable, due to the destructive consequences of our awareness of our baser tendencies. Ultimately, Christophersen asserts, Edgar Hun fly indicts writing as a means not of revelation but merely of self-justification, for the novel also signifies Brown's farewell to gothic fiction, Ius exasperated arrival at an artistic eul de sac. (The concluding chapter of tlus study, however, is no frustrating dead end, for it offers an intriguing linkage of Brown's novels with other works by Brackenridge, Irving, Cooper, Hawthorne, Melville, and Poe all of wluch reflect the national identity to one degree or another.) 28


SFRA Review #215, January/February 1995 Christophersen's prose style deserves special mention as well. He not only avoids the intrusive jargon typical of those who mistake obscurity for profundity, but he also writes with a refreshing direct ness that elaborates on the complexity of each novel, with only a few instances of redundancy or tedium. Each of the four chapters devoted to one of Brown's major novels provides an in-depth, multifaceted interpretation that gives the impression of an exhaustive (though never really exhausting) scrutiny of the work. Almost without fail, Christophersen provides multiple viewpoints on each text that nicely fuse into a prismatic coherence. The Apparition in the Glass succeeds in going beyond the surface appearance of Brockden Brown's gothic fiction by restoring a much-needed sense of their socio-political background. It is a rock-solid, intellectually stimulat ing work of scholarship that merits careful reading. Ted Billy Haschak, Paul G. UtopianlDystopian literature: A Bibliography of Literary Crilicism. Metuchen, New Jersey: Scarecrow Press, 1994,370 pages, hardcover, $52.50, ISBN 0-8108-2752-2. After a brief preface, Haschak offers 295 pages of bibliographic listings running from Edward Abbel, Oscar Acosta ,:U1d Frederick Upham Adams through Sir Francis YOLU1ghusbami, Evgenii Zamiatin, and Emile Zola. In betvveen he provides entries on virtually every utopian or dystopian work that has been the subject of scholarly ex amination. His purpose, he states, is to provide "a begitming to doing research." His entries are intended to be representative rather than exhaustive and, he says, should not be used as a "substitute for real scholarshi p." For the major utopian and dystopicU1 vvorks, Haschak provides extremely useful extended bibliographies. Hesse's The Glass Bead Gcillle, for eXcu11ple, receives flfty entTies. Huxley's Brave New \t'lorld receives more than eighty references, with Ape and Essence, Brave New World Revisired, Island, and general criticism of Huxley's work adding another thirty or so entries. As one would expect, there are detailed bibliographies for Atwood, Bellamy, Burgess, Samuel Butler, Samuel Johnson, LeGuin, More, Onvell, Rabelais, Rousseau, Swift, Weils, Zeuniatin, and other autl10rs who ha\'e been of particular inter est to scholars \vho specialize in utopian and dystopicU1 literature. 29


SFRA Review #215, January/February 1995 Also of interest, however, are certain authors whose bibliographic entries are fewer than one would expect, such as Anatole France, Charlotte Perkins Gilman, and (a hint to scholars looking for a topic) joseph O'Neill, whose Land Under England receives only one entry. Haschak has also extended his net well beyond the mainstream of utopian and dystopian scholarship and has come up with some interesting and unexpected choices for inclusion in his book. Not only are the standard utopian/ dystopian science fiction writers present LeGuin, Russ, and Delany, for example -but there are also multiple entries for Asimov, Clarke, Elgin, Miller, Niven, Pan shin, PoW, and many others (though, surprisingly, Heinlein is completely absent). Also included are bibliographic entries for children's writers like L. Frank Baum and Levvis Carroll; pulp novelists like Edgar Rice Burroughs and H. Rider Haggard; and a number of major contemporary literary figures who I, at least, have never thought of as specifi cally being part of of the utopian/dystopian tradition, for example john Fowles, jolm UIXlike, and Tiller Olson. In an Haschak provides a separate list of book-length critical works that deal with one or more topics related to utopia. He also provides indexes to the utopian/ dystopian titles mentioned in the book and to the critics whose works are cited. My one criticism of UtopianlDystopicUJ literature is that the entries are not annotated; when faced vvith dozens of references to a specific work, this lazy scholar appreciates an indication of where to start. I'll admit that I'm nitpicking, however. Haschak's bibliography should be a very useful book for anyone in utopian/dystopian stud ies or related fields and I recommend it vvithout reservation to alllibrades housing significant research collections. Michael M. Levy Hauck, Dennis William. William Shatner: A Bio-Bibliography. Westport, COlmecticut: Greenwood Press, February 1994, 324 pages, hardcover, $49.95, ISBN 0-313-28579-9. This volume provides William Shatner fans \vitl1 an overview of the actor's career from his childhood performances in the Montreal Children's Theatre to the release of SrcuTrek .Memories in September 30


SFRA Review #215, January/February 1995 1993. Its ten sections include a biographical sketch of Shatner; a chronological list of the stage plays, both amateur and professional, which Shatner has been associated with as an actor, producer, or director; a list of his more prominent personal appearances; lists of fIlms and radio and television shows in which he has appeared; lists of his literary works, awards and honors; a representative atmotated bibliography of published works on Shall1er at1d the productions he has been involved with; at1d a chronological list of major events in the actor's life. The volume is clearly oriented towards Shatner's most visible and enduring television and film role as Captain Jatnes T. Kirk of the starship Enterprise. Though he has starred in several television series, only Star Trek gets an episode-by-episode synopsis. The bib liography is long on science-fiction fat1-oriented publications such as Star log, Cinefcmtastique, and various Trek periodicals. But those who peruse this volume will find there is more to Shatner at1d his career, including his stint with Tyrone Guthrie's Stratford Shakespeare Festival in Ontario, Cat1ada; his origination of the male lead, Robert Lomax, in the Broadway production of The World of Suzie Wong; and his extensive work in both starring and supporting roles on television both before at1d after Stcu-Trek. Shatner has been associated vvith some of the best and most popular work in television: he played the younger lavvyer in the pi lot of The Defenders at1d made em impact as the airline passenger who sees a gremlin on the \ving in the Twilight Zone episode "Nightmare at 20,000 Feet." Ironically, he turned dovvn the lead in Dr. Kildare for fear of being typecast. Post-Star Trek roles include that of the prosecutor in a PBS production of The .4ndersonv"ille Tria}, the lead in the police adventure series T.]. Hooker; a role as host/narrator of Rescue 911; atld his association as author, director, producer, and guest star with the TekWar series of made-for-TV movies. Hauck has included synopses of the plots of the films at1d the major television appearances, and excerpts from quite a few reviews. He notes that Shatner received the TYTone Guthrie Avvard for most promising actor in 1959 and three years later garnered a Theatre Guild award for his \,vork in The World of Suzie Wong. Reviews that 31


SFRA Review #215, January/February 1995 praise his work alternate with those that point out his tendency toward bombast and melodrama. (Interestingly, the first reviews of his presumably fmal appearance as Captain Kirk in the current Star Trek: Generations honor a portrayal that has in the past often been the object of satire.) The volume, although not one of hero-worship, is not especially critical; for example, Shatner's well-publicized problems with his Star Trek co-stars are underplayed, as is Ron Goulart's "assistance" with the TekWarnovels. Though Shatner's participation with Nichelle Nichols in television'S first interracial kiss is mentioned in the biography, it inexplicably isn't noted in the synopsis of "Plato's Stepchil dren," the Star Trek episode in which it occurred. E'Xcept for the bibliography, which is organized alphabetically by author or title, the volume's sections are arranged chronologically. An extensive index allows ready access to any aspect of Shatner's ca reer. About a dozen typographical and grammatical errors are a minor annoyance. Certainly tIlis volume is an essential source of information on Shatner's career and a useful, tl10ugh not acadernically oriented source for anyone working on Star Trek. Recommended for libraries with large collections in popular culture and the performing arts. AgatI1a Taormina Hayden, Teresa Nielsen. Making Book. Frarningham, Massachu setts: The NESFA Press, 1994, 160 pages, softcover, $9.95, ISBN 0-915368-55-2. (The NESFA Press, PO Box 809, Framingham, MA 01701-0203; add $2.00 for shipping cU1d handling). Tllis collection of fcm writings by Teresa Nielsen Hayden is very enjoyable reading. This is the second Boskone book for 1994 published by tl1e New England Science Fiction Association. Teresa works as a consulting editor for Tor Books, and this volume is edited by her husband, Patrick Nielsen Hayden, an editor for Tor Books. Their professionalism shows. In spite of the book's famlish origins, tI1ere are no distracting typos, no awkward sentences unless they serve a specific illustrative point, and no condescension to the proverbial "average" reader. 32


SFRA Review #215, January/February 1995 An eclectic collection of fifteen essays, this book contains bio graphical material covering Teresa's life: her excommunication from the Mormon church, the physical and medical tribulations of her nar colepsy, and even a piece titled "On Copyediting," which serves as a guide for free-lance copy editors working for Tor. It is no surprise that this Hugo-nominated fan writer's work was selected by NFSFA for publication. "Of Desks and Robots" is a well-written piece lamenting the un derpayment of office workers. "Apocalypse Then and Novv" discusses Teresa's realization through science fiction tl1at nuclear war is a po tential reality, one in which tl1ere can be no winners. "The Big Z" re counts some of Teresa's experiences ,vith narcolepsy, explaining tl1e illness in metaphors the reader can understand. "The Pastafazool Cycle" is the closing article for the book. Originally written for the Arthurian Literature topic area on GEnie's Science Fiction Round Table in May 1991, this essay takes an in-deptl1, humorous look at academic research, warning us that we can never afford to take our sources at face value. "On Copyediting," mentioned above, explains the difference be tween dangling participles and verbal phrases as well as other Latinbased grammar rules that don't necessarily hold true for American English. If you haven't read this article from other sources, such as Internet, it alone is W0rt11 tl1e price of the book. -B. Diane l'-1iller Priest, Christopher. The Book on the Edge of Forever: an Enquiry into tlJe Non-Appearance of Harlan Ellison's The Last Dangerous Visions. Seattle, \Vashington: FcU1tagraphics Books, 1994, 56 pages, softcover, $6.95, no ISBN. (Fantagraphics Books, 7563 Lake City Way NW, Seattle, WA 98115; add $1.00 for shipping and handling.) This story could be said to begin in j\'Iay 1971, the date of the introduction to the second paperback volume of Again, Dangerous Visions, when its editor, Harlan Ellison, stated tl1at The Last Dangerous Visions "vvill be published, God willing, approximately SLX months after this book." As Priest notes, God was not willing. Priest's account provides a history of this (in)famous non-book from then 33


SFRA Review #215, January/February 1995 through 1993. It is an updated version of Priest's self-published The Last Deadloss Visions, originally vvritten in 1984, then revised and first published in 1987 as a stapled booklet. Subsequent printings included corrections plus a diary including responses to the original edition. He has revised this earlier edition to reflect the situation in 1993,22 years after the original annOlUlcement The motive for this new edition is stated at the end of the intro duction: "A dose of healthy skepticism in large quantities and com ing from all sides will be an w1Comfortable experience for Mr. Elison, but it will be for his own good. It might at last force him to act, and fmally deliver the completed book." This somewhat optimistic view collides with chapter 6, "How Will it End?", in which three possibili ties are discussed: 1) The book is never completed, or is completed and submitted but found to be unpublishable for various reasons, but is repeatedly resold to new publishers and announced as "forthcoming"; 2) a selection of stories is published, with unpublished stories returned to their authors; or 3) the book is publicly abandoned, with Ellison returning his latest advance (to Houghton Mifflin, presumably). My guess is that Ellison's ego and the economics of publishing make a public apology or future publication extremely remote. The loss is probably not much to readers, but more to the authors who haven't reclaimed (or had the courage to reclaim) and resold their stories. And, of course, Ellison's credibility and simple decency is left seriously in doubt by this careful account. The original edition of The Book 011 tlle Edge of Forever said it wasn't for sale in the U.S., although many copies obviously reached American readers. This statement reflects the obvious fear of repriseu shown by mcU1Y contributors to Last, and particularly by Priest's correspondents, many of whom insisted on anonymity. Un der American law this booklet could not possibly be considered ac tionable on the grow1ds of libel or defamation, which may explain its appear,:U1ce now. Charles Platt, one of the contributors to Last, says he was in strument.u in getting this edition of The Book published. Platt was assaulted by Ellison at the 1985 Nebula bcU1quet. This and subsequent related events are the subject of Platt's Victims of Ellison Newsletter # 1, J,U1uary 1994, a publication sent free to anyone who can docwnent their victimization. (Non-victims can get sLx issues for 34


SFRA Review #215, January/February 1995 $9 from Interactive Systems, Box 595, Chelsea Station, NY 10113). I've read that a "friends of Ellison" newsletter also exists. The psychopathology of publishing and the personalities connected thereto is probably of rather limited appeal. But if you enjoyed such esoteric histories as Moskowitz's The Immortal Storm (1954), you'll love Priest's account, regardless of how you feel about its subject -Neil Barron Riali, Richard. Art1mr Rackham: 1867-1939: Books and Articles with His Illustrations. A New Bibliography of Arthur Rackham. Bath, England: Ross Press, 1994,252 pages, ISBN 0952 3353-0-1. (Available from Louise Ross & Co. Ltd., Ross Press, Mulberry House, 8 Mow1t lansdown, Bath BA1 5PW, England, for plus shipping and handling) McWhorter, George T. The Arthur Rackhcul1 Memorial Collection. Sierra Madre, California: Bottleneck Blues Press, 1994, 62 pages. (George T. McWhorter, Ekstrom Library, Dept. of Rare Books, University of Louisville, Louisville, KY 40292) With its lengthy title, tl1is indispensable Richard Riall book will lmdoubtedly be referred to as tl1e "Rial! Rackham bibliography." It is the first detailed bibliography of Rackham's vvork, other than as supplements included in studies of the artist's life and ,vork, to be published since ArrllW" Rackhcun; A Bibliography (Sunonhouse Ltd., 1936), compiled by Saral1 Briggs L1.timore and Grace Clark Haskell. It is also tl1e most attractive book on Rackham since Derek Hudson's Arthur Rackhcun; His Ufe cmd Work (Scribner's, 1960). Bound in blue cloth witl1 gold stamping on tl1e spine and cover, illustrated endpapers, numerous black and white illustrations, and six color plates, tl1e book is a fitting tribute to the golden age of illustrated books of which Rackhcun was one of the most illustrious representatives. In addition to updating Latimore ,md Haskell, Riall has include a number of earlier books they missed, most of them noted by Bertram Rota in Hudson, and he supplies detailed bibliographic notes on bindings, dust jackets, and British .md American limited and trade 35


SFRA Review #215, January/February 1995 first editions. Riall also lists magazine appearances, deluxe and limited editions with some information on special publisher's bindings, foreign language editions, and commercial and theatrical work and ephemera. He indexes the books by title and, where appropriate, by author. The major disadvantage of Riall's bibliography is the deluxe format, whose dimensions (7 2/3 by 11 3/4 inches) and quality make it not an ideal book to carry along on book trips. The compact latimore/Haskell, in its inexpensive reprint edition (San Marco Book store, 1987), was the perfect travelling companion, especially in the company of the 1986 Swann Catalogue for the auction sale of the Rackham collection of Marjorie Allen Tranchin, a supplement useful for tl1e auction prices and detailed annotations. Riall deserves its place of honor on the short shelf of reference books devoted to Rack ham, but it vvill not often travel far from that shelf. The six color plates -most of tl1em bindings or dust jackets -are an important complement to the text, especially when the binding design or jacket illustrative material features illustrations that are not part of tl1e textual artvvork. The jacket art for The Legend of Sleepy Hollow, Peer Gym, and Tales of Mystery and Imagination is among the most striking work of Rackham's later years, and it is displayed here in excellent color photographs. One would have liked to have seen more of Rackham's binding designs, and it is not clear why the jacket for The Vicar of Wakefle1d is included since it reproduces one of the plates in the book, whose illustrations are not among Rackham's most inspired or characteristic. There are some distracting typos, Mr. Riall's punctuation and sentence construction are, at times, a bit wayward, ,md t\vo pages of references were omitted by the printer. It is to be hoped that a revised edition will correct some of these deficiencies. Dorothy Gibbs, president of the Arthur Rackhmn Society, has offered to proofread a revised edition and has invited members of the Society to send notes of ,my "factual errors or omissions of books or articles" to Mr. Riall. Riall's listing of foreign editions and reprint editions are spotty, but the Society is sponsoring a bibliography of reprint editions, and additional information on foreign editions can be found in the second Rackham publication of note, The Arthur Rac:'kham MenlOrial Edition, George T. McWhorter's catalogue of the collection he donated to the University of Louisville and of which he is the curator. 36


SFRA Review #215, January/February 1995 This attractive catalogue has color reproductions from A Midsunmler Night's Dream and Rip Van Winkle on the stiff paper covers and numerous black and white drawings which accompany the text. The catalogue, which includes an index of names, is divided into two sections: an alphabetical listing by book and magazine story title, followed by a chronological list of titles. The booklet serves to dis seminate information on tl1e collection to a wider public than that of the collector or researcher who may visit the library, but it is also, as l\1r. McWhorter notes in his Preface, "a memorial to an inspired artist [and] the personal statement of an inveterate book collector." The catalogue is impressive on both counts and a testimony to the survival of Arthur Rackham's legacy more than fifty years after his death. Walter Albert Stapleton, Amy. Utopias for a Dying World: Contemporary Gennan Science Fiction's Plea for a New Ecological Awareness. New York: Peter lang Publishing, 1993, 158 pages, hardcover, $37.95, ISBN 0-8204-1922-2. In Utopias for a Dying World, Amy Stapleton attempts to devise a wake-up call for ecological awareness by using a selection of German science fiction that has been published since the late seventies. She bases this attempt on two premises: 1) that this fiction has taken a leading role in addressing ecological concerns; and 2) that tl1is fiction can effectively prompt a Bewusstseinswandel, a transformation of awareness, in Western culture'S regard for economic development and the destructive impact of this development on the environment. Her book expects that those who read tl1is selection of science fiction \Yill finds its indictment of environmental dan1age so compelling that they \Yill be converted to a critical outlook, one that challenges a lifestyle sustained by industrial expansion. In this view, the bad guys are not only the military who underwrite this expansion and the technological establishment tl1at hones it, but also tl1e complacent citizens who have anesthetized themselves against acid rain ,md endangered species by watching 1V instead of looking out their windows. Though these green thoughts amid acrid haze often sound naive, Utopias for a Dying H/0rld remains earnestly well-in-37


SFRA Review #215, January/February 1995 tentioned, and it does introduce readers to a worthwhile body of German fiction and environmental thinking. The text for this effort is spread across an introduction, six chapters, and a conclusion. After the introduction has emphasized humanity's negligence (and worse) regarding the global environment, chapter one surveys four German theorists who have considered humanity's relationship to the world of nature: Carl Amery, Robert ]ungk, Klaus Michael Meyer-Abich, and Carl Friederich von Weiza ecker. Their thoughts provide a philosophical framework for the lit erary concerns that follow in chapters two through six. Although von Weizaecker has a more positive view than Amery about the influence of religion on our regard for the environment, all four agree that the technological establishment and the public at large need to develop a greater sensitivity to the needs of the environment and a less anthropocentric view of our place within the world's ecologies. Chapter two provides a transition from this theoretical frame work to the use of literature as a tool for altering awareness. This chapter overflows wirh Stapleton's frustration about current literary criticism that is overly absorbed with textual processes while it dis counts any impact a work might have beyond itself in economics or politics. Against this preoccupation vvith text, she traces an alterna tive regard for literature that is more engaged with its social context. Ranging over two millennia of intellectual history, she sketches this process from Plato and More through Leibniz and Mary Shelly to Darko Suvin and Felicia Campbell. In doing so, she narrows her focus from utopian literature to science-fictional utopias to a selection of such utopias ,;vrinen in German since 1978. Chapters three through SL'C group these works into four clusters: t','\IO "negative," one "uncertain," and one "positive." In the first nega tive cluster of chapter tIu-ee, the works depict apocalyptic scenarios in which technology runs out of control with disastrous consequences. In tI1e second cluster (chapter four), tI1e dangerous tech nologies are cybernetic or genetic, and they preempt individual hu man responsibility. The uncertain utopias of chapter five depict well-intentioned alternatives to a culture infatuated with industrial development; in each instance, however, the implementation of the alternative is 38


SFRA Review #215, January/February 1995 compromised. Only in chapter six, where five of the six examples come from the former German Democratic Republic, do we find texts that not only imagine an alternative, but also depict its implementa tions within human reach. In a telling conclusion, Stapleton reports on her mixed efforts to discover support for her thesis among contemporary German writers who share her concerns. As her four-chapter survey of the fiction suggests, fmding writers who believe that we are fast approaching an environmental crisis is much easier than fmding Y\riters who believe that substantial change can be effected this side of the crisis. And their skepticism regarding the efficacy of literature in this cause seems equally entrenched. At best, she reaches this conclusion regarding Carl Amery: "Despite his opinion that the awareness-shaping impact of literature Carul0t be traced or proven, he does seem to be lieve that certain works can influence the way we think about and live in the world" (p. 148). This does not sound like a particularly strong endorsement for one of the basic premises of the book. In the end, the logic, organization, and supporting evidence of Utopias for a Dying World exhibit the weaknesses as well as the strengths of a better-than-average doctoral dissertation. For the most part, the constraints on its focus seem more artificial than artful; the notion that German science fiction of the past fifteen years marks the leading edge of ecological awareness begs for more support than it receives here. Similarly, the premise that literature should be an instrument of transformation regarding our environmental ethics is not adequately supported by the textual discussions in chapters three through six, which lean heavily toward plot descriptions and some straining to identify an environmental allegory in the actions described. In addition, the text itself poses some pitfalls for the unwary reader. Stapleton quotes extensively from her German sources but provides no translations for these quotes. A careful reader can de tect glosses for some of the ideas in her English text, but a fan1iliarity with German seems essential for a fuller appreciation of the original phraSing. This difficulty carries into the bibliography, where seventy-nine of the eighty-four titles remain untranslated from the German. In one or two places, the English itself lapses: "consciouslessly" (p. 127) or "take stock of the awarenesses and con-39


SFRA Review #215, January/February 1995 elusions" (p. 139) are less than felicitous. More significant lapses occur in the editing: two lines at the bottom of page 67 are repeated at the top of page 68, while two lines seem to be omitted between pages 69 and 70. Such errors do not speak well for the editing at Peter lang. For American readers, Utopias for a Dying World opens a window on a body of German science fiction that is worth further con sideration. We can hope that Ms. Stapleton or other scholars concerned about the environment will elect to explore this literature with greater depth and intellectual finesse. Joseph Marchesani Van Hise, James (Ed). Pulp Heroes of the Thirties. Yucca Valley, California: Midnight Graffiti Pubs., January 1994, 176 pages, softcover, $14.95, no ISBN. (James Van Rise, PO Box 2546, Yucca Valley, CA 92286; add $4.00 for shipping and handling) Despite an overdose of forgivable fannish enthusiasm in some of the writing, this handsomely illustrated anthology of critical articles on the pulp heroes of the 1930s and 40s is simply a lot of fun to read. Its essays have been gleaned from such pulp fan publications as Echoes and The Pulp Collector -a list of these publications is thoughtfully provided on p. 149. I was surprised that there was a whole group of fans out there devoted to such publications as The Shadow, Doc Savage, The Spider, Secret Agent X, and The Phantom Detective. Reading some of the essays was a nostalgia trip to the days of my childhood when I sneaked these magazines into my bed room past the watchful eyes of my parents. This volume is full of illustrations which add to the nostalgia, both reproductions from the original pulps and some original art. The back cover is a complete reproduction of the September 1935 is sue of Popular Publications' Fu Mm1Chu imitation, The MysteriOUS Wu Fang. Some of the essays deal ,vith pulps that are of only marginal interest to the SF critic (Doc Savage, G-8 cwd His Battle Aces, and The Spider), but most of the artieles have more historical appeal for those who are interested in the pulps cU1d their impact on popular culture. 40


SFRA Review #215, January/February 1995 I'm not sure what value this book may have for SF critics, but I certainly had a wonderful trip back in time for a few hours. Robert]. Ewald Weaver, Tom. Attack of the Monster Movie Makers: Interviews 'Nith Twenty Genre Giants. jefferson, North Carolina: McFarland & Company, Inc., 1994,396 pages, hardcover, $35.00, ISBN 0-7864-0018-8. (McFarland & Company, Box 611, jefferson, NC 28640). In Tom Weaver's own words, Attack of the Monster Movie Makers is "another trip down Memory lane the memories of the stars, writers, producers and directors of the old horror and science fiction movies" (p. vii). A companion volume to Weaver's earlier Interviews 'Nith B Science Fiction and Horror Movie Makers (1988) and Science Fiction Stars and Horror Heroes (1991), this volume is an anthology of previously abridged interviews collected from the Star log and Fangoria magazines and represented here in their unedited forms. The book is impressively eclectic with subjects including screenwriters Charles Cohen and Harry Spalding; directors Robert Day and Val Guest; actors Kenneth Tobey, Vincent Price, Cameron Mitchell and Ben Chapman; and actresses Merry Anders, Susan Hart, Rose Hobart, Betsy jones-Moreland, Alme Robinson and Lupita Tovar. Attack of the Monster Movie Makers is a real delight for anyone whose video collection is crammed with such cinema classics as Val Guest's The Day the Earth Caught Fire (1962) and Al1dre de Toth's 3D House of Wax (1953), or for those who Gumot resist struggling with rebellious eyelids to take in the late night movie. This is also where the book's problem lies, however. Unless the reader shares Weaver's affection for the b-movie or the fifties science fiction flick, he or she is likely to be wearied by the author's chirpy fascination for the often irrelevant minuta:: of his subject. While Weaver is undeniably a professional interviewer, his questions, although direct and concise, reflect a fannish zeal which inevitably restricts the book's appeal. It is obvious that Weaver wants to celebrate the existence of some genuinely excellent (and some w1speakably awful) b-movies, yet this desire is w1tempered by thoughts of how interesting the book might be on a second or third 41


SFRA Review #215, January/February 1995 reading. His questions are frequently colorless, and only ardent fans are likely to find fascinating discussions of how the gill-man's gills worked or where tl1e zippers fitted on his boots. The serious movie critic or ftlm studies tutor is likely to dismiss the book as a self-indulgent collection of vapid anecdotes with only limited application. Conversely, admirers of b-movies will hail it as a welcome addition to tl1e appreciation of a cultural phenomenon be longing to a less technical, more experimental part of cinema history. The casual readers occupying a place somewhere in between will, in all likelihood, be seduced by Weaver's unfailing entl1Usiasm and find tl1emselves succumbing to a bout of healtl1y nostalgia. This is a collection for anyone keen to know why Gary Clarke got the part as the Teenage Werewolf over Michael Landon in How to Make a Monster; or eager to discover where Cameron Mitchell saw his first flying saucer; or anxious to savour Susan Hart's experience on the set of Dr. Coldfoot and the Bikini Machine. If you are one of these rare people, prone to admire productions of underfunded overstatement, read and enjoy. Peter Wright 42


SFRA Review #215, January/February 1995 FICTION REVIEWS Boston, Bruce. Accursed Wives. Troy, North Carolina: Night Vi sions, 1993, $3.50, ISBN 0-9626708-7-1. (Night Visions, Rt. 2 Box 357, Troy, NC 27371) Bruce Boston's Accursed Wives is a chapbook collection of 12 previously published poems. Part of the proceeds from the sale of this book is being donated to the Montgomery County Women's Crisis Center. This is appropriate because Boston's wives are trapped in difficult, tempestuous relationships where the stranger in bed beside them is very strange indeed. The husbands provide a certain amount of novelty and sexual release, but at a price; in "Curse of the Shapeshifter's Wife," for example, ... He sUthers beneath/ the locked bathroom door like Plastic Man/ to take her dripping wet in the middle/ of the shower, and although she must close/ her eyes from the horror of his chameleon/ incarnations, his instant appendages explore/ all the fIne nooks and crevices of her body/with such prehensile precision that she can! not fein him off Wltil the water turns cold/ and she is polymorphously spent." Boston, a three-time Rhysling winner, is a talented poet, accomplished in the use of sound and image in creating the delicate balance of horror and desire that is prevalent in these cursed marriages. In "Curse of the Werewolf's Wife" we read "Each time the madness/ in his eyes is captured/ by her artistry, she endures/ a dreadful ritual of rape,! she tastes his lupine breath,! she knows that now familiar/ scent so animal and sweet,! the heavy musk which fills/ the air to saturate her dreams." Why would women choose to marry monsters? The reader cannot help but question the vvisdom of their commitment. Certainly passion bonds them. The Alien's wife tells us "that no mere hwnan lover/ could ever please her again." But passion is a complex emo tion only partly based on sexual pleasure. Perhaps they stay out of some ill-conceived perception that by perfecting their wifely virtues, they might refme the beasts in their husbands and "normalize" their relationships. Even tlle Devil's wife, whose "dining room curtains/ are darkly stained/ from tlle heated fumes/ of sulphur and brim stone" and whose "endless conjugal rites" are "tedious and incom-43


SFRA Review #215, January/February 1995 plete," is not in the process of packing to go home to mother. Only the Telepath's wife takes matters into her own hands, and that through a breach "\lith sanity. Perhaps these awful relationships continue because the husbands, despite their idiosyncratic grotesque qualities, are not nearly bad enough. Any domestic crisis center worker can tell of women trapped in disastrous relationships with terrible men who abuse and terrorize them to the point that they are reduced to battered, trem bling, desperate husks lacking even a fragment of the emotional presence and common sense of the wives personified in Boston's po ems. Perhaps the agony of real life wife abuse is more than Boston can conceive or perhaps having had much worse human husbands, these cursed wives see their present domestic arrangements as an improvement. The poetry is enhanced by eerie black and white pointillist illustrations by editor Ree Young. Recommended. Support the Crisis Center; buy several for gifts. Sandra]. lindow Boston, Bruce. Specula: Selected Uncollected Poems -1968-1993. Beech Grove, Indiana: Talisman, 1993,63 pages, softcover, $6.95, ISBN 0-9626708-5-5. Bruce Boston is one of the four or five authentic voices currently writing speculative poetry. His work is consistently well-drafted, imaginative, innovative in language and line, tough and consistent. Ranging from SF narratives enf1eshed in poetic textures to philosoph ical abstractions, his poems struggle to exceed limits: limits of form, limits of vocabulary, limits of imagination, limits of human experi ence. Selected Uncollecled Poems -1968-1993 collects in one place 25 years of possibilities. From the not-quite interlocking, ragged dual columns of "Vagina Dentata" to the mono-and dimetric starkness of "Prehistoric Flashback," to the time-compressing allusiveness of "Holocaustic Museum Fragments for Binary Extrapolation" (with T. Winter-Damon) piece after piece carries Boston's trademark com pression of language and thought. One of tlle few SF/speculative poets to attempt poetic lines embedded \'\Iith multi-syllabic blocks of scientific terminology "synchronized ball-bearing joints," "Homo 44


SFRA Review #215, January/February 1995 sapiens (var./preholocaustus)," "einsteinian contractions," "microscopic ill wnination" Boston is also capable of the el usiveness of the dark lyric, as in "Kitchen Witdl" and "Rara Avis." The 54 poems in this collection are a strong addition to Boston's earlier volwnes of poetry, re-confirming his stature as poet. Michael R Collings Bova, Ben, Frederick PoW, Jerry Pournelle and Charles Shef field. Future Quartet Earth in the Year 2042: A Four-Part Invention. New York: William Morrow and Company, Inc., April 1994,294 pages, hardcover, $20.00, ISBN 0-688-13173-5. Future Quartet is a collaborative effort of four of today's top names in science fiction, each taking a prognostic peek into the near future. Originally posed as a challenge to Charles Sheffield by The World & I magazine, Future Quartet is meant to be a speculative look at the possible futures faCing us in 2042, the 550th anniversary of Columbus's first voyage to America. As the introduction states, each author tal"es a different point of view, deliberately ranging from dystopian to utopian, and then delivers an overview of this possible future follmved by a story set in that scenario. The result is a fascinating look into the possible lives that we "md our children may face. Ben Bova is first \\1th his essay "20.:1-2: A Cautiously Pessimistic View." In 1\1r. Bova's future, technology, growth, and improved effi ciency have sustained the developed world, but tragedy looms al1ead. The climate is changing due to global warming, populations soar, dis ease is rampant in the Third World, and social unrest and weapons proliferation tlu-eaten the stability and safety of the v\'orld. This scenario is "cautiously pessimistic" because, while facing the collapse of civilization, the right bahmce of cooperation, technology transfer, and economic assistance could just possibly ward off disaster. This world is the setting of "Thy Kingdom Come," \\'hich was originally published in the March and April 1993 issues of Science Fiction Age. This story deals with a plot to kidnap tlle Chairm"m of the World Council, and the umvitting ("md wmilling) Philadelphia street pwlk who comes to his aid. 45


SFRA Review #215, January/February 1995 The second view of 2042 is presented by Fred Pohl, who has the dubious honor of showing us the worst-case scenario for the future. In "A Visit to Belindia," we are shown a world dealing with climatic catastrophe, a non-existent ozone layer, and wide-spread poverty, disease, and famine. A privileged few million live under well forti fied domes while the remaining billions barely scrape by on the out side. In this world is set his story, "What Dreams Remain," in which an unemployed electrical technician from a Massachusetts cable company wanders through an America where vagrancy is a high crime but few citizens hold work permits. Charles Sheffield gives a third scenario with his "Report on Planet Earth." In this future, the world is prosperous, energetic, and at peace. The planet absorbed the 20th century's pollution without great ill effect as the laws and programs of the early 21st century stopped and in many cases reversed the damage. Automation and nanotechnology have made industry and resource extraction cheap while freeing humans from drudgery in the factories and fields. Biotechnology has eliminated famine and reduced most diseases to mild cuilloyances, while increased global prosperity, along with the economic interdependence of all nations, has virtually eliminated war. Into this world comes Sheffield's "The Price of Civilization," a story about a father's problems in the year 2042. Filling out the quartet is Jerry Pournelle, with his assignment of the cautiously optimistic future. In "Democracy in America in the Year 2042," Pournelle projects a future where the planet's inhabitants will live longer, eat better, cu1d have a decent standard of liv ing. Energy will be provided in abundcu1Ce from renewable sources such as solar power satellites and ocean thermal electric generation. With enough clecu1 energy, pollution is no longer a problem. What Poumelle does see as a problem is the political and social situation in the United States. In his view, government continues to strangle productivity and innovation with useless cu1d counterproductive regulations while our education system, in an effort to promote "individual freedom," crcu1ks out millions of illiterate and undisci plined public school graduates. "Higher Education," by Poumel1e and Sheffield, is the story of a bright but uneducated 16 year old who is taken under the vving of a space mining company cu1d given a real "education." 46


SFRA Review #215, January/February 1995 Futw"e QlL1rtet is an interesting projection of present trends into vastly different future conditions. What is engaging about the book is the fact that all of the futures presented appear plausible. While some of the stories are not pleasant to read, they are crafted with skill and care and will keep the reader's attention to the end. As Sheffield states in tlle introduction, "The future C3..lmot be predicted; but futures can be invented." Of the four predictions in Future Quartet, it will be interesting to see which will be the closest to the one we choose to invent. George E Kelley DeCarlo, Elisa. The Devil You Say. New York: Avon Books, 1993, 182 pages, softcover, $4.50, ISBN 0-380-76933-X. DeCarlo, Elisa. Strong Spirits. New York: Avon Books, 1994, 151 pages, softcover, $4.50, ISBN 0-380-77405-4. These two light f3..lltasy novels, set in Britain bet,veen the wars, introduce Aubrey Arbutimot, psychic detective, and his gentleman's gentleman, Hornchurch, who is also psychically gifted. In their fIrst adventure, The Devil You Say, a mysterious client hires Aubrey to bid at Sotheby's for a rare magical tome. Things get complicated when Aubrey accepts a friend's offer to pose as valet to Hornchurch. At a house party in the COWl try, Satanists change a young lady into a Ming vase 3..lld steal her. Aubrey and Hornchurch must thwart the Satanists before they can do even worse mischief. In Strong Spirits, a preq uel that explains how these 1:\\'0 psychic investigators came to join forces, Aubrey has to lay to rest a number of pesky ghosts, in cluding that of his late father. Aubrey gets "sozzled" at his club, the Junior Amentia. He uses words like "dashed" 3..lld "chappie" 2U1d tells Hornchurch "you st3..lld alone." In effect, the author fondly plays her ov\,n variations of P.G. Wodehouse's Jeeves and Wooster formulation ,\lthout attempting to mimic the master's manner in every line. Readers looking for something new 3..lld fresh in the genre with a comic flavor should welcome Elisa DeCarlo, who brings the s

SFRA Review #215, January/February 1995 Griffith, Nicola. Ammonite. New York: Del Rey, 1993,349 pages, $3.00, softcover, ISBN 0-345-37891-1. First published in Great Britain in 1992, AnmlOnite, winner of last year's James Tiptree Award, has been touted as a "real" feminist utopia in that it postulates a world naturally devoid of men. This means that rather than women reacting to the traditional strictures of patriarchy imposd by men, they simply live and function accord ing to the rules of their world, the planet GP or "Jeep." In this story, Marghe Taishan, a representative of the Durallium Company which owns the planet, is sent down to the planet's surface to discover what she can about the natives and the mysterious virus which has prevented the Company from exploiting the world's re sources. Marghe quickly fInds herself living with a variety of native groups, some more hostile than others, and she discovers the secret of the virus and the native women's ability to reproduce; in short, she herself" goes native." In the meantime, one of the tribes has been whipped into a frenzy by a woman purporting to be a reincarnated Goddess of folk legend, returned to discipline the women of Jeep. This leads to battle between tl1e radical's followers and Marghe Taishan's newfound people combined with what's left of tl1e Com pany's military forces. Indeed, as the Tiptree award suggests, this novel certainly stretches the envelope of the portrayal of women in science fIction. The prose in generally very readctble and the plot intriguing. This is also a character-driven novel, and although Griffith integrates tech nology and science into the story, the focus is most defInitely on the development of the characters and their personal issues. My only negative conunents have to do the slight stiltedness of tl1e dia logue and tl1e numerous loose ends at the end of the book. Of the latter, the most irritating is the existence of creatures called goths; they steal attention from tl1e issues at hand, but tl1eir presence in the story is never really tied in or explained. One last comment GU1not be made as negative or positive. Grif fith spends a great deal of time exploring the mystical side of the women's relationships in this novel, glorifying gardening, craftwork, storytelling <.U1d cooking. WIllie the envirOlunent she creates is most definitely inviting, it can also be viewed as a stereotypical and often 48


SFRA Review #21 5, January/February 1995 limiting way of pigeonholing women. I had some trouble reconciling the genuine warmth of those scenes with my feminist tendencies. In the end, however, I was only marginally unsatisfied by the dichotomy. Diana Francis Hartwell, David G. and Glenn Grant (Eds). Northern Stars: The Anthology of Canadian Science Fiction. New York: Tor, 1994, 320 pages, hardcover, $21.95,0-312-85747-0. There are a number of good reasons for this book's appearance in 1994. First and foremost, as the editors themselves tell us, there are now enough fine SF writers in Canada to make it possible. As well, the World Science Fiction Convention was held in Canada this year, and what better time to call attention to the burgeoning Cana dian SF writing community? Last but not least, there are the stories from writers in both official languages, and often encompassing a vi sion that simply isn't quite the same as either U.S. (read "American" for some reason) or British SF. Is some ways, I may not be the best person to review this book; I am, after all, Canadian, and as co-editor of Tesseracts2 I chose some of the stories gathered herein. On the other hand, it is wonderful to see that there are stories not only from that ground-breaking series of Canadian SF anthologies (the first of which was edited by new Canadian judith Merrill in 1985), but from various magazines, anthologies, and collections. There are a lot of writers up here, and they have been busy during the past decade. Of course, all the writers you would expect to find are here: Michael G. Coney, Charles de Lint, Dave Duncan, William Gibson, Phyllis Gotlieb, Donald M. Kingsbury, Robert ]. Sawyer, and Robert Charles Wilson. They all deliver the goods. Most readers will have come across their work before, if not these specific stories. For a true sense of discovery, turn to the stories by such relative newcomers as Peter Watts, Andrew Weiner, Terence M. Green, john Park, and Can das jane Dorsey. They rcU1ge across possible SF tropes, as well as from the deeply disturbing to the casually comic. Digging more deeply into mood and tone, cU1d offering a more philosophical, more psychological kind of fiction are the stories from the many fine Fran-49


SFRA Review #215, January/February 1995 cophone authors represented in Northern Stars. For many, if not most non-Canadian readers, this anthology offers the first opportunity to sample their work, and it should prove a revelation. It would be impossible in such a short space to give much detail about these stories as they are all different as well as provocative. As just one example, I will mention the strange and moving novella, "One," by poet Heather Spears; this story, which she later expanded into her first SF novel, MoonnUl, is the tale of a "normal" human being in a world ofbi-cephalic (two-headed) humans. It has a wonder ful way of "making strange" the best of what SF does and certainly what the best of Canadian SF can do. Northern Stars is a telTific introduction to Canadian SF, but more than that, it's a wonderful collection of fine writing. I hope it will send readers searching for the obscure (because Canadian) original volumes from which many of the stories came, as well the other books by those authors who have achieved that plateau. It's sad but true that for many readers outside Canada, the books published therein are truly alien. I hope Northern Stars helps to change that. Douglas Barbour Kerr, Katharine. Days of Air and Darkness. New York: Bantam Books, 1994,415 pages, softcover, $16.95, ISBN 0-553-37289-0. Kerr's eighth novel of the Westlands, Days of Air and Darkness, is readable on its own, but readers will probably find that having read the first seven novels or at least Days of Blood and Fire will make it easier. The Westland novels build accurately on the background of what is currently known about the physical and social aspects of the ancient Celtic world and its beliefs. This novel in particular builds upon the belief in reincarnation. There is a battle, stirred up by the Guardian Alshandra, which involves botl1 humans on the physical plane cmd tl1e Guardians, spirits who have somehow never been bom into the physical world, on t11e ether plane. The major portion of the story takes place on me physical plane and involves a human sorcerer, Jill, who has agreed to help take care of a spirit n;;U11ed Elessario when she is bom. Jill has many allies in her attempt to protect the princess, including a mercenary dragon-50


SFRA Review #215, January/February 1995 master and a bard. The novel is well written with an abundance of detail, but readers inexperienced at constructing an imaginary world from clues will find the movement between the two planes and throughout frequent flashbacks difficult. Such readers would probably find it easier to go back to the first novel, Daggerspe11, and pursue the subsequent novels as the events lead up to the current volume in a successive manner. The conclusion of this latest story leaves some things unresolved, promising yet another sequel or sequels. I reconunend this compelling book. Sherry Stoskopf Lovecraft, H.P. (S.T. Joshi and David Schultz, Eds.) The Shadow Over Innsmouli1. West Wanvick, Rhode Island: Necronomicon Press, 1994,62 pages, stapled booklet, $8.95, ISBN 0-940884-66-6. (Necronomicon Press, PO Box 1304, West War wick, RI 02893) There are really two aspects to my review of The Shadow Over Innsmout11 by H.P. lDvecraft, both of them questions to be answered. First, how successful is this book's presentation as a critical edition, complete with introductory conunentary, biographical information, fragments of an earlier version, illustrations by Jason Eckhardt, and some 148 notes by Joshi and Schultz? Second, since not everyone is familiar with Lovecraft's work, what are my own reactions to the story itself? The editors and artist have assembled a h;mdsome, moderately priced package which is both useful to the critic vvith its wealth of supporting material cmd attractive to the fem because Eckllardt's illustrations preserve the seamy pulp fiction quality of the milieu Lovecraft both participated in and defmed. The bilious green cover and granularity of the full-page interior illustrations do much to enhance this effect. I am happy to say that The Shadow Over Innsmourh is now presented in an authoritative edition which one hopes most clearly reflects Lovecraft's intent. I read The ShactOlv O\lcr ]nnsmourh in a single sitting on an early midwestern morning in the late fall in an almost deserted dormitory. This, I like to imagine, may also have been as intended by the author. Yet as much as I praise the package, I disagree \Nith 51


SFRA Review #215, January/February 1995 the editor's assertion of the "aboutness" of the story. It is just too simple to say that the story is a cautionary tale about miscegenation, just as it would be to say that Moby Dick is a cautionary tale about the dangers of whaling, or Kafka's The MetamOIphosis is a cautionary tale about the dangers of tuming into a cockroach. Some might argue that Lovecraft's use of language is redundant and his diction archaic. Others, myself induded, ftnd that his control and manipulation of narrative through repetition, in counterpoint with variation of pace through the course of the story, is almost Joseph Conrad-like in its intentionality and essence. Further, Lovecraft mixes the horrific and the beautiful, expressing his own ambivalence with a visual splendor that chillingly reminds us there is no "invisible shield" between the horrible and the artistic. Perhaps this helps explain Lovecraft's stature as an American literary figure of international interest, often mentioned in the same breath as Poe. I reconunend this critical edition of The Shadow Over Innsmouti1 not only to the Lovecraft fan or scholar, but also to the unfamiliar reader who may have shunned H.P. Lovecraft because of negative comments or bias against horror literature. I recommend that such a reader consider this novella as an entry point into the body of Love craft's work. It must also be included in any 19th and 20th century literary research collection since it last appeared in print a decade ago. My only suggestion for improvement is a hardbound edition more suitable for libraries -but then again, some would says pulps were never suitable for libraries anyvvay. Philip E Kaveny Malzberg, Barry N. (Resnick, Mike and Anthony R. Lewis, Eds.) The Passage of tlle Lighr: The Recursive Science Fiction of Barry N. MaJzberg. Framingham, Massachusetts: The NESFA Press, 1994,281 pages, softcover, $14.00, ISBN 0-915368-59-5. (The NESFA Press, PO Box 809, Framingham, MA 01701-0203; contact publisher for shipping "u1d handling information.) An introduction by Mike Resnick defU1es "Recursive Science Fic tion," locates Malzberg's stories vvithin a large group of tillS type of work, and introduces each of the thirteen pieces in this collection which covers the years 1970-1973. An afterword by Anthony R. 52


SFRA Review #21 5, January/February 1995 Lewis chronicles how this collection came into being. What lies in between are works of varied length and quality, but all of which are about the science fiction writer and his (decidedly not HER) place in the greater science fiction commwuty. Three longer pieces, "Dwellers of the Deep", "Gather in the Hall of the Planets," and "Herovit's World," ranging from 56 to 90 pages each, are exemplary for the genre of "recursive SF," presenting often bewildered and beleaguered characters who are also writers or fans. "Dwellers" is actually about a fanzine collector, but the personality type which Malzberg utilizes is not all that different. My favorite of the stories was "Herovit's World," despite the n1isogynistic protagonist and his jejune friends, because it contextualizes both the process of creating mainstream adventure SF and the standard plots. In that sense, it is reminiscent of JOalma Russ's hLU1l0roUS list of possible SF plots. Another comparison n1ight be made with Sharon McCrumb's Bimbos of the Death Sill] alld Zombies of the Gene Pool, both about fan culture and the writers caught up in it However, McCrumb's ba sic humor is absent in Malzberg's work. His writers and fans are grim people, insecure men in their late thirties or forties who constantly belabor their lack of material success and try to find some vestige of self-satisfaction in a body of written SF they also seem to loathe. I read this book with great interest, alld would recommend it to anyone interested in earlier days of SF writing alld publishing, especially tlle period from 1950 to 1970, though I CaImot claim a knowledge of whether or how much things have changed for the av erage SF writer (whoever tllat is). Let me caution you, however, that some of tlle stories Call be tough going, particularly for a reasonably intelligent female reader. Women in tllese stories have very little place as sentient beings; rather they are there to contribute to the anguish or pleasure of the lTh:lle narrators alld dlaracters. I am sure we all agree tllat the genre has come a long way since the 1970s of Malzberg's fiction. Janice M. Bogstad O'Neil, Dennis. Batmi:UJ: Knightfall. New York: Balltam Spectra, 1994,349 pages, hal-dcover, $19.95, ISBN 0-553-09673-7. Knightfall, like last year's The Death and life of Superman, is a novel based upon a previously published comic book narrative. This 53


SFRA Review #215, January/February 1995 is not an independent story written to a "bible" and based upon comic book characters; the story in Knighrfall originally appeared se rialized in the comics Batman #488-510, Batman: Shadow of the Bat #16-30, Detective Comics #656-677, Legends of the Dark Knight #5963, and Robin #1 and #7-9. The novel is divided into three volumes of approximately equal length, titled "A Knight's Fall," "A Hero's Quest," and "A BatrrlcUl Reborn." "A Knight's Fall" concentrates on the emergence of a new villain, Bane, and his obsession to prove himself by destroying Batman. (Yes, you've heard this plot before.) Bane as a character appears to have been torn from a Jack London novel; he is a naturalistic brute to challenge McTeague or Wolf Larsen, and there is a lengthy digression in the plot to DC Comics' oft-visited hellhole island, Santa Prisca, to explain how this character was (mis)shaped by his early environment. In "A Hero's Quest," the story divides. Bruce Wayne struggles ,vith a broken back, and Jean Paul Valley (once the assassin Azrael) assumes the role of Batman, a role that slowly destroys what little sanity he might ever had had. Wayne triumphs only because he realizes that Batman has always been more of an intellectual detective than a terrorizing brute. Val ley becomes a violent parody of the Dark Knight because he does not share this underst;mding. In the third volume, Bruce Wayne travels to the Orient to regain his fighting skills and attempts to convince Valley that his Batman is out of control. The novel concludes in an anti-closure that is typical of both post-structuralist narratives and comic books. In his aftc1Vvord, Delmis O'Neil comments on the effect of form upon n

SFRA Review #215, January/February 1995 nightmare cityscape? And there is science. Today's Batman is a hacker extraordinaire, a forensic detective, and an inventor as well as a martial artist with a grappling hook. Also, Knightfall briefly enters the realm of parapsychology with caution and care. And of course psychology and sociology the elements of soft science fiction -have always been at the heart of the Batman legend. Also, the number of good science fiction novels that have been published with illustrations has blurred the line between the novel and the graphic novel. However, as a last interesting note, Knightfc111 does not completely escape from its original genre. At the beginning of each chapter is a line drawing of the Bat Signal. In the first volume, the signal is slowly eclipsed as Batman's world unravels. In volume two, the familiar Signal is replaced with a wickedly more stylized bat shape. In the third volume, the new signal is shattered and pieces fall from it to reveal the old signal underneath. Bruce Wayne/ Batman's fortunes visually wax and wane along with his heraldic em blem Will Bruce Wayne become Batman once again? Will Alfred return? The answer to both these questions is, of course, yes. The sad/wonderful thing about cornic heroes is the lack of irrevocable occurrences in their lives. Each new incarnation of Bruce/Batman changes the story some, but ultimately, in a happy capitalist society, he can't die or retire, for that matter. The charm of this novel ver sion is that while reading it, ,ve can briefly pretend that maybe this is the end, maybe this time Bruce Wayne's psychosis is allowed to heal and he can begin to live as a person and not as an obsession. However, this novel isn't the end, in the sense that Hemingway would end a narrative, but most science fiction does not close narra tive completely sequels, trilogies, and series, including adventure series, are the stock and trade of this genre. And there is a place in this genre for its kissing cousins from the comics. Suzette]. Henderson Senkovsky, Osip. (Louis Pedrotti, Ed.) The Fantastic Journeys of Baron Brambeus. New York: Peter Lang Publishing, 1993, 232 pages, softcover, $32.95, ISBN 0-8204-2203-7. Senkovsky (1800-1858), a professor of Oriental (that is, Near Eastern) languages and literature at the University of St. Petersburg, 55


SFRA Review #215, January/February 1995 was also one of the Russian public's favorite writers of popular literature during the 1830s and 1840s. He wrote widely on science, society, arts and letters, often in a highly ironic, satirical manner. While popular with the general public, he was often viewed by establishment critics as shallow and facetious, and this aura of offi cial disapproval carried over into the late Czarist and Soviet periods. Consequently, he has remained a rather obscure and minor figure in both Russian and world literary history. With this translation, as well as a longer monograph examining Senkovsky's life and works, Louis Pedrotti of the University of Cali fornia Riverside has attempted to remedy some of this neglect. And indeed, as Pedrotti points out, there is much of interest here. The current volume \VilJ. be of particular interest to scholars of Rus sian/Soviet SF and fantastic literature, as well as those with an interest in the broader history of tales of lost worlds and fantastic journeys. In an introductory passage and the short first tale in the collec tion, Senkovsky, through the narration of an alter-ego Baron Bram beus, directs his wit and irony at contemporary Russian SOciety, at St. Petersburg (then the Imperial Russian capitol), and at the literary movements of the day. Senkovsky's ironic, jocular tone and somewhat florid style can be at turns charming and tediOUS, and some of the contemporary jests and topical references will be obscure to those not familiar with his time and place. It is in the two longer tales tllat make up tl1e bulk of tlus collection that Senkovsky turns to the scientific fantastic. In tl1e first, "A Scientific Journey to Bear Island," Brambeus and his compaJuons travel to the far reaches of Siberia, and on an Arctic islaJ1d discover the records of a lost civilization carved on the walls of a cave (in aJ1Cient EgyptiaJ1 hieroglypl1ics, no less). The deciphered carvings tell the tale-witl1in-a-tale of the last survivor of an ancient Central AsiaJ1 civilization destroyed by the impact of a comet thou sands of years ago (Senkovsky was writing just prior to the return of Halley's Comet in the early 1830s). The second fcU1tastic tale, "A Sentimental Journey to Mount Etna," relates the Baron's adventures in a subterranean world, where he again discovers a lost, but still living, civilization. Brambeus enters 56


SFRA Review #215, January/February 1995 the underground world through the crater of Mount Etna, and at the end of his adventures is ejected back to the surface via Mount Vesuvius. Although this tale and the others are highly satirical and ironic in tone, there are numerous parallels here to Verne's journey to the Centre of the FAIth, published thirty years later in 1864. Pe drotti examines these similarities and hints there may have been an indirect influence by Senkovsky on Verne. Pedrotti provides a brief introductory essay and a longer set of "Translator's Notes," both of which help place Senkovsky in his his torical and literary milieux, and help trace the lines of influence be tween Senkovsky, the concerns of his day, and the lost world/ fan tastic journey traditions. They help make this volume much more interesting, understandable and useful than a simple publication of the translated texts. A selected bibliography, mostly of Russian sources from the 1800s, is also provided. Though an obscure work by a neglected author, there is much in The Fantastic journeys of Baron Brambeus to warrant broader inter est among those interested in the history of SF and the fantastic. Richard P. Terra Siciliano, Sam. Angel of the Opera. New York: Otto Penzler Books, 1994,256 pages, hardcover, $21.95, ISBN 1-883402-46-8. Aficionados of the most famous detective in the world, Sherlock Holmes, while continuously fascinated by "the Canon" -the original fifty-six short stories and four novels by Arthur Conan Doyle -are also intrigued by additional adventures such as those penned by writers from H.G. Wells to Poul Anderson. In the many pastiches, Holmes has encountered a variety of other characters, from Jack the Ripper to Freud. In this new offering by Sam Siciliano, Holmes meets the Phantom of the Opera. Set in Paris in 1890, this adventure finds Holmes without his customary companion, Dr. Watson, and instead aided by his cousin, the French-speaking Dr. Henry Vernier. The managers of tlle Paris Opera have asked for Holmes' assistance in investigating the disrup tive actions of the Opera Ghost (the Phantom) who requests 20,000 francs per month, a reserved box, and starring roles for the young 57


SFRA Review #215, January/February 1995 and beautiful soprano, Christine Daae. If his wishes are not fulfilled, he promises there \-vill be dire consequences. Christine, who is at tracted to the Phantom is his guise as her teacher, the Angel of Mu sic, is also pursued by her childhood sweetheart, the Viscount de Chagny. Though less them eager to help the imprudent managers, the imperious Count de Chagny, who wishes to derail the relationship between his brother and Christine, and the arrogant and rather fool ish Viscount, Holmes cannot ignore a lady who may be in trouble, and he agrees to investigate and protect Christine Daae. The basic plot, closely foUovving that of Gaston Leroux's Phantom of the Opera, involves Holmes tracking the Phantom through the labyrinths of the Opera House and its cellars. In the course of the search, Siciliano creates an interesting dynamic between the Phantom, who is highly intelligent, clever, talented and moody, and Holmes, who also dis plays these characteristics. The \'\Iriting and chcu-acters are generally faithful to the Victorian setting, although I doubt, for example, that any lady of the time would have said, "Oh, blast it aU." Siciliano is particularly good at de scribing the environs of Paris and the Opera House itself, giving a great deal of attention to details. His Holmes shows more interest in love affairs than is usual in the traditional portrayal, with Holmes musing over relations berween men

SFRA Review #215, January/February 1995 Swann, S. Andrew. Specters of tile DcHvn. New York: DAW Books, 1994,284 pages, softcover, $4.50, ISBN 0-88677-613-9. Angel Lopez, a rabbit moreau, grew up as a tough street kid and gang leader in Cleveland. Now a waitress in San Francisco, she meets the love of her life, Byron Dorset, a fox more au who lives a high lifestyle. Byron doesn't say much about what he does for a living, but when he ends up dead and Angel inherits his estate, she begins putting the pieces together and eventually realizes she is caught up in the middle of an information-peddling war. Specters of tile Dmvn is the third book in a trilogy by S. Andrew Swann which includes Forests of the Night and Emperors of the Twilight. This story has typical info-peddling hackers, couriers, and mysterious buyers, and the racial troubles between the moreaus and humans reflect the basic raciaJ tensions in today's society. The ge netic engineering of the various races adds a neat angle to the story, though, and the influence of a mysterious race of aliens is, to borrow Swann's words, "a conspiracy theorist's wet dream." Unlike many SF protagonists, Angel isn't a brilliant technician, engineer or genius. She is street-smart and knows when to keep her head down, but she has to puzzle out many of the intricate workings of what goes on around her; tllis, to me, mal,es her a much more interesting charac ter. Swann has come up with a plot that keeps the reader off-bal ance and guessing, and the book has a llice balance of human frailties and real-life personas. Specters of the Dmvn is a fun romp through a possible fut1.1re \"Jith an interesting group of characters. John Nordlie Williamson, J.N. Bloodlines. Stamford, COlmecticut: Longmeadow Press, 1994, 270 pages, hardcover, $17.95, ISBN 0-681-00693-5. A father called a vampire, but really a Jeffrey Dal1mer-style cannibal -searches for llis children, whom he wishes to turn into monsters like llimseIf. If a reader can gag her way tlrrough tllis dis gusting book, she learns in detail what tl1e call1libal father does \\lith the bodies stashed in his hiding place. Credulity is constantly strained. Even someone like myself, who easily suspends disbelief, \AJill balk at the improbability of the fatl1er using parts of his victim's 59


SFRA Review #215, January/February 1995 face to create a mask and of his throvving the leg of a dismembered corpse at the ceiling only to have it stick there by the toe. Some writers, like Stephen King, John Farris, and even Poe, can carry off gross effects by conveying disgusting details with a gleeful stylishness. Williamson's sentences, however, are so convoluted that I kept reading them over, trying to figure out the meaning, and then giving up. Bloodlines veers back and forth between excessively col loquial phrases and poetic passages that fall embarrassingly flat. The characters speak a slang that no real people ever spoke. Williamson is an exceedingly prolific mass-market horror writer who, according to a note on the proof jacket, was nominated for a Bram Stoker Award from the Horror Writers of America. I cannot speak for his other novels, but it is hard to imagine a reader who would find Bloodlines palatable. Wendy Bousfield Wolfe, Gene. CaJde of rlJe Long Sun. New York: Tor Books, 1994, 384 pages, hardcover, $22.95, ISBN 0-312-85583-4. Calde of we Long Sun, the third volume in Gene Wolfe's The Book of rlJe Long Sun, does not stand alone, nor is it a work of easy virtues. However, its virtues are many and the series to which it belongs is important. Calde follows the series' protagonist, Silk, in his ascent from the underworld as he does battle to vvin his city over to the cause of his god, tlle Outsider. This vast oversimplification of tlle volume's twists and turns nevertheless clarifies how Wolfe parallels Silk's journey witll tllose of others, such as Auk the thief and Mint the warrior nun, in CaJde. They too descend into one abyss or another, literally or figuratively, and rise to do holy battle. All three, and many other char acters, echo figures from the New Testament and Christian hagiogra phy, while the plots in which they figure echo tlle Jungian quests of Jesse Weston's From Ritual to Romance and Joseph Campbell's The Hero a Thousand Faces. Further, there are allusions, both the matic and plot-driven, to this series' connection with Wolfe's earlier and simi\,u-Iy titled masterwork, The Book of rlle New Sun. These 60


SFRA Review #215. January/February 1995 complex patterns operate beneath a fully imagined science fictional world, the cylindrical generation ship which is Silk's \Nhorl. CaJde is, then, part of a tour de force: complex, allusory, evoca tive, densely populated, and meticulously developed, as thorough and committed at the surface of plot, character, and setting as it is beneath in the realm of metaphor and mysticism. It is also e..xhausting. The maze-like plot and abundance of char acters require intense concentration. Characters indulge in long, cerebral discussions of motive and tactics which are equally maze like. And beneath the surface of the novel, reverberations from past works and spiritual history require just as much concentration to catch. It seems a weakness in the reader, though, to call this inten sity a weakness in the book. Fortunately, however, easier pleasures abound. For instance, there is the wonderful though hardly cerebral character Oreb, a bird who speaks in pithy, tVYo-\'\'ord sentences. In one delightful section, we witness a scene through his convincingly skewed consciousness. More poignant ,md equally wonderful are a number of beautifully written scenes, among them one describing a ritual sacrifice, another revealing Auk's suffering from a head wound, yet another in which Silk dreams of his mother. In scenes such as these, Wolfe blends sentiment, spirituality, and quotidian detail into luminous and enduring vignettes which light our way along the more difficult pas sages. Any serious science fiction reader should step bravely into Gene Wolfe's Whorl of the Long Sun and strive to underst,md as much of it as possible, while remaining open to the simpler delights along the way. JaU1 Gordon 61


SFRA Review #215, January/February 1995 62


SFRA Review #215, January/February 1995 REVISED INDEX OF 1994 REVIEWS This revised index includes the reviews found in issues #208-211, which were not included in the index printed in issue #214. Nonfiction: Alexander, David. Star Trek Creator: The Authorized Biography of Cene Roddenbeny. (Kaveny & Kaveny, #214, p. 23) Alkon, Paul K. Science Fiction Before 1900: Imagination Discovers Technology. (Barron, #212, p. 19) Anon. The Disney Poster: The Animated Film Classics from Mickey Mouse to Aladdin. (Klossner, #211, p. 75) Asimov, Isaac. 1. Asimov: A l\lemoir. (Gunn, #213, p. 41) Barr, Marleen S. Feminist Fabulation: SpacelPostmodern Fiction. (Gordon, #214, p. 27) Barr, Marleen S. Lost in Space: Probing Feminist Science Fiction and Beyond. (Henderson, #214, p. 28) Bova, Ben. The Craft of Writing Science Fiction that Sells. (Cowen, #214, p. 31) Cave, Hugh B. Magazines I Remember: Some Pulps, Their Editors, and What It lJke to INrite for Then1. (Hall, #213, p. 43) Coblentz, Stanton A. ,-U1d Jeffrey Elliot. Adventures of a Freelancer: The Literary b:ploits cilld Autobiography of Stanton A. Coblentz. (Eng, #209, p. 57) Collins, Robert A. and Robert Latham (Eds). Science Fiction & Fantasy Book RE:!viE:!lvAnnual1991. (]\liller, #212, p. 20) Coren, Michael. The Invisible Man: The Life cilld Liberties of H.C. Wells. (Allen, #21-1-, p. 33) Crossley, Robert. Olaf Stapledon: 2>-'peaJJng for the Future. (Barron, #214,p.35) Dick, Philip K. The Selected Letters of Philip K. Dick: 1972-1973. (Bousfield, #214, p. 37) Douglas, Adam. The Beast Within: A History of the Werewolf. (Strain, #21-1-, p. 39) Dubeek, Lerov, Suzanne E. Moshier and Judith E. Boss. Fantastic Voy ages: Le:lrning S-'cience Through Science Fiction Films. (Kelley, #21-1-, p. -1-0) Engel, Joel. Gene Roddenberry: The I\1yth cwd the MeW Behind Star Trek. (Kaveny & Kavcny, #214, p. 23) 63


SFRA Review #215, January/February 1995 Fausett, David. Writing the New World: Imaginary Voyages and Utopias of the Great Southern Land. (Lewis, #213, p. 44) Filmer, Kath. Sceptidsm clld Hope in Twentieth Century Fantasy literature. (Stevens, #213, p. 47) Finlay, Virgil. Virgil Finlay's Phantasms. (Albert, #213, p. 48) Galbraith, Stuart N. Japanese Science Fiction, Fantasy and Horror Films: A Critical Analysis of 103 Features Released in the United States, 1950-1992. (Klossner, #209, p. 61) Gerani, Gary (Ed). The Art of the Star Wars Gala>..y. (Sisson, #212, p. 21) Griffith, John. Charlotte'S Web: A Pig's Salvation. (Levy, #213, p. 49) Hall, Hal W. Science Fiction and Fantasy Book Review Index, v. 20. (Barron, #212, p. 22) Hargreaves, Mathew D. Anne Inez McCaffrey: Forty Years of Publishing/An International Bibliography. (Miller, #214, p. 41) Hargreaves, Mathew D. Anne Inez McCaffrey: Two More Years of Publishing/ A Bibliography of only U.S. and U.K. Editions. (Miller, #214, p. 41) Hassler, Sue Strong and Donald M. Hassler (Eds). Arthur Machen and MontgomelY Evans: Letters of a Literary Friendship, 1923-1947. (Harris-Fain, #214, p. 42) Hershenson, Bruce. Cartoon Movie Posters. (Klossner, #211, p. 75) Hutchings, Peter. HaJ1lil1er and Beyond: The British Horror Film. (Klossner, #209, p. 62) Jones, Stephen. The Illustrated Dinosaur Movie Guide. (Klossner, #213, p. SO) Joshi, S.T. and Darrell Schweitzer. Lord Dunsany: A Bibliography. (Barron, #212, p. 23) Katz, Ephraim. The Film Encyclopedia. (Barron, #213, p. 51 and Klossner, #214, p. SO) Knight, Damon (Ed). Monad: Essays on Science Fiction, No.3. (Taormina,#213,p.53) Kress, Nancy. Beginnings, Middles & Ends. (Allen, #212, p. 11) Kreuziger, Frederick A. Religion and Science Fiction. (Collings, #213, p.54) Levy, Michael. Natalie Babbitt. (Heller, #211, p. 76) Lindskold, Jane M. Roger Zelazny. (Henderson, #213, p. 54) Maitz, Don. Dre;;lllquests: The Art of Don Maitz. (Albert, #214, p. 44) Marrero, Robert. Dracula: The V;;lllpire Legend on Film. (Mallett, #209,p.64) 64


SFRA Review #215, January/February 1995 Marrero, Robert. Vintage Monster Movies. (Mallen, #209, p. 64) Nahln, Paul J. Time Machines: Time Travel in Physics, Metaphysics, and Science Fiction. (Kelley, #213, p. 56) Pierce, John]. Odd Genre: A Study in Imagination and Evolution. (Collings, #213, p. 57) Ruddick, Nicholas. The Ultimate Island: On the Nature of British Science Fiction. (Wright, #214, p. 45) Sanders, Clinton R. Marginal Conventions: Popular Culture, Mass Media and Social Deviance. (t-.1iller, #212, p. 24) Schultz, David E. and S.T. Joshi (Eds). H.P. Lovecraft Letters to Robert Bloch and H.P. Lovecraft Letters to Robert Bloch Supplement. (Kaveny,#213,p.59) Seabrook, Jack. Martians and Misplaced Clues: The Life and Work of Frederic Brovvn. (Collins, #214, p. 48) Server, Lee. Over My Dead Body: The Sensational Age of the American Paperback: 1945-1955. (Barron, #212, p. 25) Senf, Carol A. (Ed). The Critical Response to Bram Stoker. (Dziernianowicz, #213, p. 61) Shatner, William and Chris Kresl.J. Star Trek Memories. (Mallett, #209, p. 64) Smith, Karen Patricia. The Fabulous Realm: A LiteraIy-Historicai Approach to British Fantasy, 1780-1990. (Ruddick, #213, p. 63) Stein, Kevin. The Guide to l.arry Niven's Ringw>rld. (Mallen, #209, p.65) Stevens, David and Carol D. Stevens. ].R.R. Tolkien: The Art of the Mytlmlaker. (Rutledge, #212, p. 26) Van Schuyver, Susan A. Stcu'ships and Dragons: 50 Sci-Fi/Fantasy l.anguage Arts Skillbuilders. (Lindow, #213, p. 65) Walker, John (Ed). Halliwell's Filmgoer's and Video Viewer's Com panion. (Klossner, #214, p. 50) Widder, William j. The Ficfion of L. Ron Hubbard: A Comprehensive Bibliography &-Reference Guide to Published and Selected Un published (Barron, #213, p. 66) Willingham, Ralph. Science Fiction and the Theatre. (Hollinger, #214, p.51) Wolfe, Alan. The I-hunan Difference: Animals, Computers, and the NecessityofSociaJ Science. (Miller, #209, p. 65) Wolmark, Jelmy. Aliens and Others: Science Fiction, Feminism and Poscmodemism (Wilkuns, #213, p. 68) 65


SFRA Review #215, January/February 1995 Zaki, Hoda M. Phoenix The Survival and Mutation of Utopian Thought in North American Science Fiction, 1965-1982. (Williams, #210, p. 47 and #214, p. 54) Fiction: ab Hugh, Dafydd. Arlhur War Lord. (Mallett, #209, p. 69) ab Hugh, Dafydd. Star Trek: Deep Space Nine: Fallen Heroes. (Mallett,#209,p.69 Acres, Mark. DragoJJSpawn. (Mallett, #210, p. 55) Alien, Roger MacBride and Eric Kotani. Supemova. Stevens, #211, p. 77) Ambrose, David. The Man Who Tumed into Himself. (Stevens, #213, p.69) Anderson, Dana, Charles de Line and Ray Garton. Cafe Purgatorium. (Tryforos,#211,p.77) Anderson, Poul. The Time Patrol. (Dudley, #211, p. 78) Anthony, Patricia. The Happy Policeman. (Williams, #213, p. 70) Anthony, Piers. Demons Don't Dre:Ull (Mallett, #209, p. 70) Anthony, Piers. Question Quest. (Riggs, #211, p. 78) Asprin, Robert. Sweet Myth-tery of life. (Zelmer, #209, p. 70). Attanasio, A.A. HLmting the Ghose Dcmcer. (Bogstad, #211, p. 79) Baird, Wilhelmina. Crashcourse. (Mead, #213, p. 71) Baker, Will. Shadow Hunter. (Strain, #209, p. 71) Banks, lain M. The State of the Art. (Bogstad, #209, p. 80) Barth, john. The Last Voyage of Somebody the Sailor. (larrier, #211, p.81) Baudino, Gael. DragonsHord. (Kaveny, #211, p. 82) Baudino, Gael. Duel of Dragons. (Kaveny, #211, p. 82) Bell, Clare. The Jaguar Princess. (Strain, #209, p. 71) Bell, M. Shayne (Ed). vVashed by a Wave of Wind: Science Fiction from the Corridor. (Terra, #214, p. 59) Benford, Gregory. Furious GulI. (Abell, #213, p. 72) Benmatm, Hans. The Broken Goddess. (Strain, #209, p. 72) Bradshaw, Gillian. Beyond the Non}] Wind. (Cammilleri, #212, p. 29) Bradshaw, Gillian. Horses of Heaven. (Brizzi, #211, p. 83) BreImert, Alan. Ma Qui and Other Ph em toms. (Sanders, #211, p. 84) Brin, David. Othemess. (Kelley, #214, p. 60) Brooke, Keith. E\patria. (Morgan, #211, p. 84) Brosnan, jolm. The Fall of the Sky Lords. (Morgan, #211, p. 85) Brunner, john. A Maze ofSteu-s. (Sammons, #211, p. 87) 66


SFRA Review #215, January/February 1995 Brust, Steven. The Phoenix Guards. (I-litt, #211, p. 88) Bujold, Lois McMaster. RUTayar. (Bogstad, #211, p. 88). Bull, Emma. Finder: A Novel ofclle Borderlands. Strain, #209, p. 71) Busby, F.M. Islands of TomOlTOw. (Sanders, #214, p. 61) Card, Orson Scott. Future on Fire. (Collings, #210, p. 55) Card, Orson Scott. Xenodde. (Brizzi, #210, p. 56) Carey, Diane. Star Trek: The Next GeneTation: Descent. (Mallett, #209,p.72) Cassutt, Michael. Dragon Season. (Herrin, #210, p. 57) Chalker, Jack L The Rlll to Chaos Keep. (Rw1k, #210, p. 58) Charnas, Suzy McKee. The Fillies. (Stevens, #213, p. 73) Chappell, Fred. More Shapes than One. (Marx, #210, p. 60) Cherryh, c.]. Foreigner. (Levy, #213, p. 74) Cherryh, c.]. (Ed). MerovingeJ1 Nights 7: Endgame. (K:1.veny, #211, p. 89) Claremont, Clu-is. Grounded (Kaveny, #211, p. 90) Clarke, Arthur C. and Gentry Lee. The G;;uuen of RanJCl. (Runk, #210, p.60) Clement, Hal. Fossil. (Hassler, #213, p. 75) Cohen, Daniel. Railway Ghosts and Highlvay Horrors. (Sherman, #210, p. 61) Cole, Damaris. TokeJ1 of Dragons blood. (Becker, #210, p. 61) Collins, Paul (Ed). !v!etel\lOrlds. (Sisson, #214, p. 62) Constantine, Storm. ;-\leph. (I'dorgan, #210, p. 62) Constantine, Storm. Hennececi1. (Morgcu1, #210, p. 63) Cook, Glen. Red Iron Night. (Stevens, #211, p. 91) Cooper, Louise. The Pretender. (Gardiner-Scott, #210, p. 64) Cooper, Louise. Troika. (Gardiner-Scott, #210, p. 64 and Morgan, #210, p. 65) Coover, Robert. Pinocchio in Venice. (Chapman, #211, p. 65) Dahl, Roald. The Minpins. (Spivack, #210, p. 66) Danvers, Delmis. TVildemess. (Anon., #210, p. 67) David, Peter. Srar Trek: The Next Generation: Starfleet AcadeJ1Jy: Survival. (Mallett, #20<), p. 73) De Haven, Tom. The Enci-ofE\'Cl)"ching Mem. (Anon., #210, p. 67) de Lint, Charles. The l'\iJct Wood (Zehner, #209, p. 73) Deitz, Tom. Soulsmitil (Posner, #210, p. 68) Deitz, Tom. Stoneskin's Revenge: A. Tale of Calvin J.lcIntosh. (Levy, #210, p. 68) Denning, Troy. The Verdent Elssage. (Dudley, #210, p. 69) 67


SFRA Review #215, January/February 1995 Denton, Bradley. Buddy Holly is Alive and Well on Ganymede. (Carper,#210,p.70) Devereux, Robert. Deadv,eight (Umland, #209, p. 74) Disch, Tom. Dark Verses &light. (Lindow, #210, p. 71) Downer, AIm. The Books of tile Keepers. (Camrnilleri, #212, p. 29) Drake, David. Igniting tile Reaches. (Abell, #212, p. 30) Drake, David. The jungle. (Stevens, #210, p. 72) Drake, David. The Sharp End. (Strain, #209, p. 75) Drake, David. The Voyage. (Strain, #209, p. 76) Duane, Diane and Peter Morwood. Space Cops Mindblast. (Gardiner Scott, #210, p. 73) Dunn,].R. This Side ofjudgment. (Nordlie, #212, p. 31) Emshwiller, Carol. The Stcu-t of the End of It All. (Bogstad, #210, p. 74 and Mingin, #210, p. 75) Foster, Alan Dean. The Spoils ofWcu-. (Stoskopf, #214, p. 63) Fowler, Christopher. Red Bride. (Bousfield, #214, p. 64) Frank, Pat. Alas, Babylon. (Cowen, #214, p. 65) Frost, Gregory. The Pure Cold light. (Kelleghan, #214, p. 67) Gilman, Charlotte Perkins. Herlculd (l\1iller, #212, p. 33) Graf, LA Star TreJ..::: Firestol1n (Mallett, #209, p. 76) Haldeman, joe. Worlds Enough culd Time. (Miller, #212, p. 34) Hambly, Barbara. Scnwger at tile Wedding. (Zehner, #209, p. 77) Hawke, Simon. Star Trek: The Patricw TrdI1sgression. (Mallett, #210, p.75) Harrison, Harry. The Stainless Steel Rat Sings the Blues. (Nordlie, #212, p. 36) Hartwell, David (Ed). Masterpieces of Fcultasy culd Wonder: (Stevens, #214, p. 68) Hartwell, David G. (Ed). Christmas Forever. (Strain, #209, p. 78) Heald, Denise Lopes. Mist1vaLker. (Sanders, #213, p. 77) Hodgell, P.e. Bones. (Levy, #214, p. 69) Hodgell, P.e. Child of Dcu-kness. (Levy, #214, p. 69) Hughes, Zach. The Omniflcence Factol: (Mallett, #211, p. 91) lng, Dean. Butcher Bird. (Nordlie, #213, p. 78) jablokov, Alexander. The Breath of Suspension. (Stevens, #214, p. 70) jaffrey, Sheldon (Ed). Sensuous Science Fiction from the Weird and Spicy Pulps. (Sisson, #212, p. 36) james, L. Decu1. Mojave vVe1ls. (Mallett, #211, p. 92) joron, Andrew and Robert Frazier. Invisible Machines. (Lindow, #213, p. 79) 68


SFRA Review #215, January/February 1995 Kerr, Katharine and Martin H. Greenberg (Eds). Weird Tales from Shakespeare. (Sanders, #213, p. 81) King, Stephen. Needful Things. (Collings, #211, p. 92) Klink, William]. The Divided Future. (Taormina, #214, p. 71) Kress, Nancy. The Aliens of Earth. (Undow, #214, p. 72) lackey, Mercedes. Sacred GrOlmd. (Zehner, #209, p. 78). lackey, Mercedes and Larry Dixon. The Black Gryphon. (Strain, #209, p. 78) laidlaw, Marc. Kalifornia. (Burns, #209, p. 79) lawhead, Stephen R. The Paradise War. (Strain, #211, p. 93) lawrence, Louise. Keeper of tlle Universe. (Sisson, #212, p. 37) LeGuin, Ursula K. The Fisherman ofrlle Inland Sea. (Heller, #214, p. 73) Lem, Stanislaw. Peace on Earlh (Heller, #213, p. 81) Lethem, Jonathan. Gilll, '"virh Occasional Music. (Stevens, #213, p. 83) Undholm, Megan. Cloven Hooves. (Bogstad, #211, p. 95) Lumley, Brian. The House ofCtl1Lllu. (Morgan, #211, p. 94) Lumley, Brian. Necroscope V: DeadspaH!J1. (Morgan, #211, p. 96) Lumley, Brian. Tarra Khash: Hrossak! (Morgan, #210, p. 76) MacLeish, Roderick. Prince Ombra. (Andrews, #213, p. 84) McAuley, Paul. Eternal light. (Morgan, #210, p. 77) McAuley, Paul. The King of tlle Hill. (Morgan, #210, p. 77) McCaffrey, Anne. All the Weyrs of Pern. (Strain, #209, p. 82) McCaffrey, Anne and Elizabeth Aim Scarborough. Powers That Be. (Sturgeon, #212, p. 38) McKinney, Jack. Artifact of we System. (Ehrlich, #209, p. 82) Masterson, Graham. The Hymn. (Morgan, #209, p. 81) Miller, Faren. The illusionists. (Posner, #209, p. 83). Mcx.iesitt, L.E. Jr. The Magic of Recluse. (Anglum, #209, p. 84) Moffett, Judith. T,vo rhat Cune True. (Marx, #209, p. 85) Morales, Alejandro. The Rag Doll Plagues. (Heller, #212, p. 39) Morlan, A.R. Dar:kjoumey. (Sanders, #209, p. 86) Morrow, James (Ed). Nebula Awards 28. (Sisson, #212, p. 41) Morrow, Jan1es. TO\'villg jehov(:7,h. (Sullivan, #213, p. 85) Murakami, Hcu-uki. Hard-Boiled Wonderland and the End of the World. (Hollinger, #209, p. 86) O'Keefe, Claudia. Ghos ttide: Tales of Dark Fantasy, and Sus pense. (SCU10, #209, p. 88) Olsen, Lance. Scherzi, I Believe. (Sanders, #214, p. 75) Olsen, Lm1Ce. Tonguing tlle Zeitgeist. (Sanders, #214, p. 75) 69


SFRA Review #215, January/February 1995 Peel, john. Star Trek: The Next Generation: Here There Be Dragons. (Mallett, #209, p. 88) Reichert, !Vlickey Zucker. The Legend of Nightfall. (Strain, #209, p. 88) Reichert, Mickey Zucker. The Unkno'vVIl Soldier. (Sisson, #212, p. 42) Scieszka, jon. Krllghts of the Kirchen Table. (Spivack, #209, p. 89) Sdeszka, jon. The Not-So-Jolly Roger. (Spivack, #209, p. 89) Shatner, William. TekLords. (Dudley, #211, p. 96) Shea, Robert. Shcumm, A Novel. (Ka.veny, #211, p. 97) Sheldon, Sidney. The Doomsday Conspiracy. (larrier, #210, p. 78) Shelley, Rick. The Hero of Va ray. (Becker, #210, p. 79) Sherntm, joel Hemy. Random Factar. (Dudley, #210, p. 79) Silko, Leslie. Aimanc oftlle Dead (Anon., #210, p. 80) Silverberg, Robert. Hot Sky at Midnight. (Nordlie, #212, p. 44) Silverberg, Robert and Martin H. Greenberg (Eds). The Horror Hall of Fame. (Levy, #210, p. 81) Simmons, Dan. SwmnerofNight. (Dudley, #210, p. 82) Sirota, Mike. Bicycling Through Space cwd Time. (Anglum, #210, p. 84) Sirota, l\1ike. The Well. (Sanders, #210, p. 84) Skipp, john and Craig Spector. The Bridge. (Sanders, #210, p. 85) Smith, David Alexander. In The Cube: A Novel of Future Boston. (StTain, #209, p. 90) Sneyd, Steve. In Coils of Euthen Hold. (Lindow, #214, p. 76) Somtow, S.P. Rivermll. (Anon., #210, p. 85) Spinrad, Nonn:U1. RussLm Spring. (\I\'ooster, #210, p. 86) Springer, NcU1CY. LarCJIlP on the \Ving. (Strain, #209, p. 90) Stabenow, Dana. A Handful of Stars. (Collins, #210, p. 87) Stackpole, Michael. Once a Hero: A Novel. (Strain, #211, p. 98) Stasheff, Cluistopher. A of Stars. (Mallett, #210, p. 87) Stasheff, Christopher. \Ve Open on Venus. (Zelmer, #209, p. 91) Stasheff, Christopher. ]1Je iVirch Doctal: (Zelmer, #209, p. 92) Stevermer, Ceuoline. A College of Magics. (Strain, #211, p. 99) Stirling, S. 1\1 and David Drake. The General. (Satorius, #210, p. 88) Stith, john E. Mcwhattan Transfer. (Sisson, #212, p. 45) Stith, john E. ReLU1ion OJ] Nevercnd. (Sisson, #214, p. 79) Strieber, Whitley. The H'ild (Dudley, #210, p. 89) Sturgis, SuaJU1e j. (Ed). T:Jles of Realism by Women: Dreams in a Minor Key. (Lindow, #210, p. 89) Talbott, Hudson. King Arthur: The Sword in tlle Stone. (Spivack, #211, p. 99) 70


SFRA Review #215, January/February 1995 Tan, Cecilia (Ed). Teclmosex: Cyber Age Erotica. (Wolf, #214, p. 79) Tan, Cecilia (Ed). Worlds of Women: Sapphic Science Fiction Erotica. (Wolf, #214, p. 79) Thompson, W.R. Star Trek: The Next Generation: Debtor's Planet. (Zehner, #210, p. 90) Tilton, Lois. Star Trek: Deep Space Nine: Betrayal. (Mallett, #210, p. 91) Turtledove, Harry. Departures. (Collins, #213, p. 86) Volsky, Paula. The Wolf of Winter. (Strain, #209, p. 93) Waugh, Charles G. and Martin H. Greenberg (Eds). The Mammoth Book of New World Science Fiction: Short Novels of the 1960s. (Marx, #211, p. 100) Wheeler, L.A. The Kingdom of Kanawha: An Allegory for America. (Strain, #209, p. 93) Wright, Susan. StcuTrek: The Next Generation: Sins of Commission. (Mallett, #209, p. 94) Wu, William F. lsaac Asimov's Robots in Time: Dictator. (Mallett, #209, p. 94) Wu, William F. Isaac Asimov's Robots in Time: Emperor. (Mallett, #211, p. 101) Yerka, ]acek and Harlan Ellison. Mind Fields. (Sisson, #213, p. 87) Young, Thomas G. Island of the Innocent. (Taormina, #213, p. 88) Zelazny, Roger. A Night in the Lonesome October. (Mallett, #209, p. 94) OTHER FEATURES 1994 Pioneer Award Acceptance Speech (Tatsumi & McCaffery, #213, p.29) 1994 Pioneer Award Presentation Speech (Gordon, #213, p. 27) 1994 Pilgrim Awcu-d Acceptance Speech (Clute, #213, p. 35) 1994 Pilgrim Avvard Presentation Speech (Wendell, #213, p. 32) "Amazing Stories: Science Fiction and Science Fact in New Mexico" (joiner, Fletcher and Le\vis, #209, p. 49) "Animation: Reference, HistOlY, Bibliography" (Klossner, #210, p. 37) "An Interview with A.E. van Vogt" (Mallett, #210, p. 51) "'The Sense of Wonder' is 'A Sense of Sublime'" (Robu, #210, p. 43) 71


SFRA Review #215, January/February 1995 72


SFRA Review #215, January/February 1995 THE SCIENCE FICTION RESEARCH ASSOCIATION The SFRA is the oldest professional organization for the study of science fiction, fantasy, and horror/Gothic literature and film, as well as 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. Aca demic affiliation is not a requirement for membership. SFRA BENEFITS INCLUDE: Extrapolation. Quarterly magazine; the oldest journal in the field, with critical, his torical, and bibliographical articles, book reviews, letters, occasional special topic issues, annual index. Science-Fiction Studies. Trimesterly magazine; includes critical, historical, and bib liographical 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 ex tensive book reviews of both nonfiction and fiction, review articles, listings of new and forthcoming books, letters, SFRA internal affairs, calls for papers, works in progress, annual index. SFRA Directory. Annual directory; lists members' names and addresses, phone num bers, and special interests. Foundation. (For an additional fee -see next page). 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 relaxeu, 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, and hold office. Join the SFRA section on GEnie, where the SFRT (SF Round Table) has a private category where SFRA members meet in "cyberspace" to conduct business, exchange infor mation, 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. See next page for application and dues informa tion.] 73


SFRA Review #21 5, January/February 1995 SFRA MEMBERSHIP APPLICATION 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.S.A Canada Overseas Individual 1 $60 $65 $70 Joint 2 $70 $75 $80 Student3 $50 $55 $60 Institution 4 $80 $80 $80 Emeritus 5 $30 $35 $40 If you wish to receive the British journal Foundation (3 issues per year), add $17 ($20 for airmail). 1 all standard listed benefits 2 two members in the same household; two listings in the Directory, but will receive one set of joumals 3 category may be used for a maximum of five years 4 all privileges except voting 5 receives SFRA Review and Directory This membership application is for the calendar year 1995. This information will appear in the 1995SFRA Directory. Name: Mailing Address: Home Alone: Business Phone: Fax number: E-mail Address: My principal interests in fantastic literature are (limit to 30 words): Repeat last year's entry ___ 74


SFRA Review #215, January/February 1995 1995 SFRA A.rmuaL Confcrence R.eqistration :F'onn June 22-25, 1995 Grand Forks, North Dakota NAME: ADDRESS: PHONE: CONFERENCE FEE: $90.00 until January 31, 1995 $105.00 until May 1, 1994 $11 5 until June 21, 1994 $125 at the door Those registering by January 31 will receive a box of chocolate covered potato chips, a Dakota treat. [] Conference fee Amount enclosed Saturday night Banquet menu included in registration fee: baked potato, vegetable, rolls, tossed salad, beverage, dessert and choice of entree: [ ] 8 oz Sirloin Steak [ ] Walleye Pike [ ] Chicken Cordon Bleu [ ] Buffalo Burger with mushroom gravy [] Riverboat Cruise: for $25.50 includes a two hour Riverboat dinner cruise on Friday night of the conference (cruise and meal including choice of entrees, dessert, drink, tax and tip). Amount enclosed Checks should be made out to: 1995 SFRA Conference TOTAL ENCLOSED OVER75


SFRA Review #215, January/February 1995 Please check the following for more information: [] Please send program participant information. [] I am planning on attending the Atmospherium show at the con ference. [] Please send reservation information for: [] Swanson Hall [] Holiday Inn [] Econolodge [] Handicapped seNices required: ___________ [] I am planning on driving to the conference or renting a car; please send a parking permit for the University of North Dakota campus. [] Please send information about joining the SFRA. 76 MAIL THIS FORM WITH CONFERENCE FEE TO: B. Diane Miller 1402 4th Avenue North Grand Forks, ND 58203-3145 Phone: (701) 775-5038 E-mail: Internet: ud068741 or GEnie: d.miller14


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