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

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University of South Florida Library
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University of South Florida
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usfldc doi - S67-00102-n216-1995-03_04
usfldc handle - s67.102
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SFS0024513:00102


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SFRA Review Issue #216, Marchi April 1995 IN THIS ISSUE: SFRA INTERNAL AFFAIRS: President's Message (Sanders) Change of Address SFRA Executive Committee Meeting Minutes (Gordon) Letters (Eisenstein, Bohnhoff) Editorial (Sisson) NEWS AND INFORMATION SELECfED CURRENT & FORTHCOMING BOOKS FEATURES Feature Review: "Weather Reports from Cyberspace" (Mathews) REVIEWS: Nonfiction: Donawerth, Jane L and Carol A. Kolmerten (Eds). Utopian and Science Fiction by Women: Worlds of Difference. (Stone5 6 6 10 13 15 23 25 Blackburn) 31 Elms, Alan C. Uncovering lives: The Uneasy Alliance of Biography and Psychology. (Williamson) 32 Hardy, Phil (Ed). The Overlook Film Encydopedia: Horror. (Klossner) 33 Harrold, John R. 8 Great Science Fiction Classics: Synopses, Word Study, Quizzes, and Writing Activities. (Stoskopf) 35 Ishihara, Fujio. S-F Tosho Kaisetsu S6mokuroku 1971-1980 [S-F Grand Annotated Catalogue 1971-1980}. (Bleiler) 35 James, Edward. Science Fiction in the Twentieth Century. (Barron) 37 Sanders, Joe (Ed). Science Fiction Fandom. (Miller) 39

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SFRA Review#216, March/April1995 Fiction/Poetry: Besher, Alexander. RIM: A Novel of Virtual Reality. (Sanders) 43 Canon, P.R. Scream for jeeves. (Collins) 44 Collings, Michael R. A Vapor of Vampires (poetry). (Levy) 45 Crowley, John. Love and Sleep. (Marchesani) 46 Goldstein, Usa. Travellers in Magic. (Undow) 48 Goodkind, Terry. Wizard's First Rule. (Stoskopf) 50 McCarthy, Wil. Aggressor Six. (Abell) 51 McKillip, Patrida Brian Froud's Faene1ands: Something Rich and Strange. (Sullivan) 51 Scott, Melissa. Trouble and Her Friends. (Bogstad) 52 Sterling, Bruce. Globalhead (Kaveny) 54 Tepper, Sheri S. Shadow's End (Gordon) 55 2

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SFRA Review #2 16, Marchi April 1995 8F'Rfl Executive eommittee PRI5IDENT Joe Sanders 6354 Brooks Blvd. Mentor OR 44060 SKREfARY JoonGordon 1 Tulip Lane Commack NY 11725 VICE PRESIDENT Milton Wolf University Ubrary/322 Univ. of Nevada Reno Reno NY 89557-0044 TREASURER Robert J. Ewald 552 W. lincoln St Findlay OR 45840 IMMEDIATE PAST PRESIDEl\lT 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. NEW ADDRESS: Please submit reviews, news items, letters, etc. to Amy Sisson, Editor, SFRA Review, 3845 Harrison St. #103, Oakland CA 94611, telephone (510) 655-3711. Please note 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

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SFRA Review#216, March/April1995 4

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SFRA RelJiew#Z16, March/April 1995 SFRA INTERNAL AFFAIRS PRESIDENT'S MESSAGE The sky above Cleveland was the color of a television tuned to a dead channel. Or maybe not. Every time we tried to see for sure, snow fell in our eyes. One nice thing about having the SFRA Executive Committee meeting in January on the shore of Lake Erie was that we were able to focus our attention easily; there was no temptation to stroll around outside. We got a lot done, as you can see by the minutes printed elsewhere in this issue. There are two new concerns I'd especially like to call to your attention, though. First of aU, we played \\lith the idea of selecting and packaging a group of books for public school students. All SF teachers at the col lege level have encountered young people who read (or watch) a lot of SF, but seem stalled at a fairly low level of appreciation, and we've also observed how difficult it is to fmd books to recommend to that audience. This difficulty has partly to do with how often the things we want are out of print, partly with how much trouble other teach ers have in obtaining and/or using recommended books. So we are beginning to e.\:plore \,vays to make the reading we want available, in an enjoyable, challenging context Write to me if you have questions or ideas to share. Second, SFRA is now involved in enough publishing projects of its own to need some kind of committee to guide the process. This is a vague statement because that's where we are right now wonder ing not just about current and future projects but about the nature of the committee itself. Milton Wolf is the person to write to if you have ideas on this subject; a meeting will be scheduled at the Grand Forks conference. These are large, rather hazy concerns. We need help in clarifying them and carrying them through. I didn't know what to expect of the Executive Committee meeting, and hadn't worried about it for long since I hadn't expected to be elected. During that snowy weekend in Cleveland, I was impressed by the intelligence and readiness 5

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SFRA Review#216. March/April1995 of the other officers and by the amount of work we could accomplish together. I said, enthusiastically, that it looked like we would be having fun and getting some important things done. But we can do more and make it more enjoyable if other people help too. You're invited. -Joe Sanders CHANGE Of ADDRESS FOR THE SFRA REVIEW Please address all correspondence and review copies to: Amy Sisson, SFRA Review, 3845 Harrison St #103, Oakland CA 94611 (telephone number 510-655-3711). SFRA EXECUTIVE COMMITTEE MEETING MINUTES Jan\.k'U)' 20-22, 1995 Oeveland, Ohio The meeting was called to order by President Joe Sanders at 7:00 p.m. on Friday, January 20, 1995. Present were Joe Sanders, Milton Wolf, Joan Gordon, David Mead, and Amy Sisson. Treasurer Bob Ewald \-\'as ill but attended a portion of the meeting via telephone. Diane Miller, Chair of the 1995 Annual Meeting in Grand Forks, North Dakota, also attended a portion of the meeting via telephone. Reports Past President Mead reported that President Sanders has the papers necessary to renew SFRA's non-profit corporation status and he will be identified as the new statutory agent. The EC approved the $30 renewal fee. Mead advised he will update the SFRA stationery and brochures and look into prices for new Pioneer and Pilgrim plaques. Mead will chair the Senior Scholars Support Committee. Mead \vill send old SFRA materials, obtained from Past President Hardesty, to the SFRA archives at the University of Kansas. 6

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SFRA Review #216, Marchi April 1995 President Sanders advised that one goal of his term as Presi dent will be to reach out to public schools. Milt Wolf suggested the EC fashion a middle school SF teaching unit and advised he will look into publishing possibilities, and the EC developed a proposal to do so. Sanders advocates the cultivation of a better connection with the IAFA and fandom. Those members attending the upcoming ICFA (Sanders, Gordon, and Wolf) will attempt to meet with IAFA officers to discuss possible jOint activities. For connections with fandom, it was suggested a joint SFRAIIAFA Worldcon academic track be developed and a similar link with Readercon be made. Sanders will circu late SFRA information through the Fantasy Amateur Press Associa tion, Wolf \viU do so through the American Library Association, and Joan Gordon \viiI investigate placing an SFRA ad in NCTE publications. Mead V\till explore advertising SFRA on computer bulletin boards. Sanders \vill ask Lynn Williams to help make contacts with regional MLAs. Vice President Wolf reported that the SFRAITor fiction anthol ogy may not be published until fall of 1995. Tor paid a $15,000 advance which was primarily used to pay authors a one-time fee for their stories. Royalties will go to the editors and the SFRA. Wolf will obtain a copy of the contract and the proposed table of contents for the SFRA. Proceedings from the Reno conference should be mailed in March. The Reno conference video can be ordered through Wolf; the 15 hour unedited version has been archived in Kansas. Treasurer Ewald reported he has currently received 154 membership renewals. The current account balance is approximately $23,000 ($20,88G balance plus approximately $2,000 in undeposited funds). Mead will contact Betty Hull and Beverly Friend to request a closing financial report from the Chicago meeting be sent to Sanders and Ewald. Ewald \vill contact Martin Greenberg to clarify the royalty situa tion for the second SFRA anthology. Ewald reported the forthcoming Pilgrim book will be paid for with money obtained by Hal Hall. This volume will be distributed to all SFRA. members as well as deposited in ten science fiction collec tions. Proceeds from the sale of this volume by Borgo Press will be used to subsidize the publication of the 1993 proceedings volume, 7

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SFRA Review#216, March/April1995 and those proceeds "vill in turn be used to subsidize future volumes. The 1993 Proceedings cost will be $1,365, and complimentary copies will go only to contributors and selected collections. SFRA members will be able to purchase the volume for the reduced prices of $11 for the paperbacK, $21 for the hardcover. The full price for non-SFRA members will be $31 for the paperback, $41 for the hardcover. Ewald reported 275 copies will be printed, 75 of which will be distributed to contributors, libraries, and review publications. The J:x)()k can be ordered through Borgo Press. Sisson suggested induding the Foundation Collection in the UK as a depository for SFRA volumes. Daryl Mallen vvill send Amy Sisson the remaining copies of SFRA Review issues #208-211. E"vald vl'ill send project suggestions from renewing members to Sanders and membership information to Wolf. Due to rising printing costs, Ewald has budgeted $1,600 per issue for the Re\'ie\vvvhich includes both printing and mailing costs. After Ewald's report, the EC authorized Ewald to pay for the ho tel and airfare costs of the meeting. SecretaD' Gordon reported she sent out dues notices before the end of December and will send out second notices to those who have not yet renewed, She is "vorking on conference proceedings for the 1994 Chicago meeting, which will focus on Octavia Butler and Sheri Tepper. Revie\v Editor Sisson's new address and phone number are 3845 Harrison St. #103, Oakland, CA 94611, (510) 655-3711. She requested members send all SFRA materials to this home address. She "vill announce her new e-mail address as soon as possible. Sisson will be obtaining bids from printers in the Oakland/San Francisco area although issue #21G may be printed in Grand Forks, North Dakota. Printing costs have increased significantly, primarily due to higher paper prices, so she may downsize the Review by having fewer fiction reviews, The bimonthly printing schedule may vary slightly, but any changes will be atmounced and she will try to keep the mailing date in the month preceding the cover date. Sisson inquired about the advertising policy and indicated she preferred to 8

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SFRA Review #216, Marchi April 1995 exchange ads rather than sell them, in the event selling ads could jeopardize SFRA's non-profit status. Old Business Sanders suggested approaching Locus, SF Chronicle, and SF Eye about exchanging advertisements. Mead suggested including a report on the Grand Forks meeting in the Review as well as contacting Locus and SF Chronide. Nominations for the Pioneer and Pilgrim Committees were dis cussed. Sanders solicited suggestions from the EC for possible ap pointees to both committees. Ewald reponcd that journal subscriptions are being awarded to Pilgrim winners. Science Fiction Srudies charges the SFRA only half price for Pilgrim winners' subscriptions. Past presidents after Hull do not recei,c free memberships. The possibility of selling lifetime SFRA memberships was dis cussed. The EC concluded that no action would be taken at this time because, in the Treasurer's jUdgment, it would be economically damaging to th(' organi7ation. New Business After extensive discussion, the EC recommended the fonnation of a publications committee, to be appointed in time for a meeting at the Grand Forks conference. Possible future conference sites were discussed. Wolf suggested working v.'ith the ctton Conference through George Slusser. Wolf also suggested \Vcstercon in Portland, Oregon, as a site for a future joint conference. tvJead vvill contact Lyru1 Williams and Readercon to see if either might be interested in hosting an east-coast conference. Dianc [\ filler reponed that preparations are moving smoothly for the 1995 Conference in Grand Forks, North Dakota. She has arranged tours with U.N.D.'s Center for Aerospace Sdences. A conference pro motional mailing will be included in the upcoming Hugo nomination ballot, \vhich Miller estimates will be sent to 5,000 people. The 9

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SFRA Review #216. Marchi April 1995 printing of the flyer and the cost of the mailing has been picked up by ConAdian. Sanders will contact Susan Baugh regarding plans for the 1996 meeting. The possibility of instituting a Tom Clareson Award, as suggested by Arthur Lewis at the Chicago meeting, was discussed; Mead reported on the committee's suggestions. The EC's consensus was that the award should recognize seIVice or support graduate students. Sisson volunteered to oversee printing of the 1995 SFRA Direc tory. Ewald suggested April 15 as a cutoff date and will send the membership list to Sisson. Foreign scholar support was discussed; as of this time, no nominations have been made. Ewald will contact Hull to solicit sugges tions, as she has previously been involved in this program. The meeting was adjourned at 11:00 am on Sunday, January 22, 1995. Respectfully submitted, Joan Gordon, Secretary LEITERS [The following was included by Alex Eisenstein with his SFRA renewal form. At my request, Alex agreed to let me print it as a letter in the Review. -Ed.] To All Whom It May Concern: PROlKTS SFRA SHOUlD UNDERTAKE-My fIrst impulse is to cry out, "Are you kidding???" There is an unpleasantly smug, self-satisfied air to most of the current academic discourse that is, in my view, wholly unwarranted. With a handful of exceptions, the true literary lights of science fiction have not been 10

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SFRA Review#216, March/April1995 closely examined by the interested academic community, and many have hardly been touched at all. There needs to be a sweeping exploration and reappraisal of the science fiction of the 1950s, with special reference to shorter works in the leading magazines of the period -Galaxy, F&SF, Astounding, Infinity, If, et. a1. that concentrates on the dozen or twenty or so major (now largely ignored) writers who sustained those magazines. The work of these authors, along with occasional great works or flashes of brilliance emanating from lesser-known colleagues, fonned the solid flesh and bone of a socially aware and philosophically adept dialog, an interlocking congregation of distinct but hannonizing voices, which gave sophisticated treatment to a wide range of impor tant ideas and issues, feelingly and in depth. This significant collec tive body of works and authors deeply engaged the magazine read ers then, and through hundreds of anthologies and collections, still excites of multitude of readers even now. But the academic community has spent three decades studiously evading them, if not running away in abject terror. (Except for occasional encyclopedia entries which, even \-"hen astute, are much too brief and swnmary.) This ne\\' project should take note of the broad context of this body of stories, which reaches back to encompass the ideas and ac complishments of earlier SF while incorporating, very often, elements of mainstream philosophy, and also frequently addressing the emerging conditions of our present global society. As well as a great deal more, besides. Is no one with academic standing willing to tackle this? (Aside from a sliver of early Philip K. Dick which some have already worked on.) Do the majority of SFRA members feel that one more essay or Ph.D. thesis on Ursula Le GUill, or Stanislaw Lem, or Italo Calvino or cyberpunk or hypermedia, is more important than the short stories of Sheckley, Knight, Budrys, Davidson, Matheson, Fredric Brown, William Tenn, and/or middle-period van Vogt? (l'm talking about sensitive and sympathetic appraisals, of course, not attempts to prove them lesser breeds without the law.) If so, this organization has failed to achieve what it purported to accomplish when it was founded. Alex Eisenstein 11

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SFRA Review #2 16, Marchi April 1995 Dear Friend, My pu blisher recently forwarded to me a batch of reviews of my two fantasy novels, The 1'\1eri and Tammy. Among them was a short review by Paula M. Strain of my first novel, The Men. The review appeared in the SFRA ReFiew#203 (Jan/Feb 1993). Though some time has passed, I still wanted to pass on a comment or two to Ms. Strain. First, I'd like to thank her for the review and am pleased that she appreciated the plot twist at the end of the book. Second, I'd like to address a misconception she apparently entertained which she passed on, \'ia her review, to her readers (and to my potential read ers, as well), In the re\'iew, l\ Is. Strain remarks on the passages containing the characters' "religious thinking" and the quotations that head each chapter of the book. She advises that young readers will "happily skip those pages and the quotations to fmd out what happens next" and ends \vith the comment, "Older readers, unless interested in New Age thinking, ,u-e adFised to do so as well" (italics mine). First of all. those passages and quotations illuminate why the characters (espeCially the protagonist) behave and think the way they do. \Is. Strain advises readers to skip what is inlended to help them understand the motivation of the characters. Second, the quo tations, \vithout exception, relate directly to what happens in the chapter that foUo\'\'s. The action is, in one sense, a metaphor for the quotation. While younger readers may not make the connection and may be satisfied to accept the story on its simplest level, older read ers may enjoy discovering that the story operates on a more abstract level. Third, and most importantly, I am nor a "New Age" writer. The quotes are not "Nevv J\ge thinking" nor are they from "New Age" sources. They are paraphrased from tl1e Hindu Bhagavad Gita, the Buddhist Dhammapada, the Judeo/Christian Bible, the Islamic Koran and various Baha'i Scriptures. These sources are anywhere from 150 to 3,000 years old and the paraphrased passages are expressive of ideas that have been \,vith us from the dawn of time -hardly "New Age" thinking. 12

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SFRA Review #216, Marchi April 1995 I \-vould have let this pass without comment except that the phrase "Nel'\' Age" is a powerrul and highly charged term that means different things to different people. It often conjures images of Shirley !'.lacLaine and folks who claim to channel 10,000 year old gu rus. None of this has anything to do with the philosophies expressed in my books, and I certainly don't wish to have readers turned off by an implied and false association. In closing, I would simply ask Ms. Strain to be careful with the terminology she adopts to describe the work she reviews. Words contain some of the most powerful "magic" we humans are capable of wielding. It hehom'es us to use them with care. Thank you fur your kind anention, Maya Kaath!) 11 Bohnhoff EDITORIAL Well, it looks as if I have survived the transplantation to Cali fornia, although it's going to take some getting used to and I still have all those lUgging linle details to resolve, like insurance, driver's license, car registration ... I don't think. I could possibly go through another move again for the next ten years! Luckily I had a welcome break from unpacking during the E\:ecutive Conunittee meeting in Cleveland. It was lovely to see some friendly SFRA faces again, and I feel the next two years look bright for the organization. I'm already going on my fourth week working at Locus. It's still too new to Liraw many conclUSions, but after several years of work ing as a \vaitress, secretary, and insurance adjuster, I can honestly say it is I\OIJder/ill to he making a living within the world of science fiction. As for Rei 'jel\' matters, this issue is being printed in Grand Forks but I will be seeking bids from printers in tl1e Bay area. This is the smallest issue since my first (#212), which has mostly to do with the move I\'e been frantically digging through boxes trying to locate papers that were stuffed in at the last minute. If you have submit ted a solicited review which has not yet appeared, please bear with me. I'm sure I will fll1d the sneaky ones that jumped into the \-vrong 13

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SFRA Review #216, March/April1995 box when I \-vasn't looking. The same goes for correspondence as soon as rhis issue is safely at rhe printers, I plan on catching up with that as \-vell, so don'r despair, an answer is on the way! My new address and phone number are listed in the beginning of the SFRA. Internal Affairs section. I miss e-mail dearly and hope to have an account set up soon, but I haven't yet had time to figure out which service ro go '''ith and what type of modem to get. The e mail address I previously used has been disconnected as V.N.D. figured out rhat Paul (my partner and assistant copy editor) is no longer a student there. If you sent something to that address and are unsure whether I received it before we were cut off, please send me a hard copy if possible. In closing, many thanks for all the kind words I've received about my new job. I feel that working at Locus will draw me deeper in the world of science ficrion and will allow me even more oppor tunities to participate in and serve the SFRA. Happy Reading, Amy 14

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SFRA Review#216, March/April1995 NEWS AND INFORMATION CALL FOR PILGRIM & PIONEER AWARD NOMINEES The Pilgrim Award was created in 1970 by the SFRA to honor lifetime contributions to SF and fantasy scholarship. The award was named for ].0. Bailey's pioneering book, Pilgrims Through Space and Time. The 1995 Pilgrim Award committee has recently been se lected, and consists of Brian Attebery (Chair), Susan Stone-Blackburn, and Steve Lehman. The committee is beginning the process of re viewing award nominees and requests that suggestions/nominations be sent to Brian Attebery, 551 S. Sixth, Pocatello ill 83201 (or e-mail attebria@lcs.isu.edu) Similarly, the Pioneer Award committee has been formed, con Sisting of Brooks Landon (Chair), Joe Sanders, and Diana Pharoah Francis. The Pioneer Award is given to the writer or writers of the best critical essay-length work of the year. Please send nomination suggestions to Brooks Landon, 505 Oakland, Iowa City IA 52240 (or e-mail brookslandon@uiowa.edu). Both the Pilgrim and the Pioneer awards will be presented at the SFRA Annual Meeting in Grand Forks, North Dakota, this June. COURSE SYllABI WANTED The National Fantasy Fan Federation (N3F) is a correspondence club for science fiction and fantasy fans which includes a bureau for those members interested in teaching science fiction at various levels. Susan Van Schuyver is the head of this bureau and is interested in receiving course syllabi to get an idea of what is being taught in the field. Please send a copy of your course syllabus to Su san Van Schuyver, 1921 Churchill Way, Oklahoma City, OK 73120. VIRTUAL REALITY THEATRE DEBUT This spring, the University of Kansas will be staging what is be lieved to be the first full-fledged virtual reality theatre production. 15

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SFRA Review#216, March/April1995 The play, Elmer Rice's "Adding Machine," is planned to be perfonned on a platform in front of a projection screen, with the audience wearing polarized glasses to create three-dimensional images. The "set" and some props will be computer generated, and some of the actors may be as well. The human actors will face an unusual chal lenge in that they will not be able to clearly see the computer-generated images, although there will be some visual clues. The audience will be limited to 150 per performance, with 16 performances planned. For more infonnation about the production, call the Uni versity Theatre at (913) 864-3381. Kay Albright THE lANGUAGE OF SF Members of the linguistics & Science Fiction Network receive a subSCription to the network's newsletter, Linguistics and Science Fic tion (fonnerly The Lonesome Node). This bi-monthly newsletter is written by Suzette Haden Elgin, Ph.D. (linguistics); the ]an.lFeb. 1995 issue consists of 17 pages of articles, editorial and business matters, a fJlksong, and a comic strip. The overall theme of this issue is lan guage in Health Care. Linguistics and Science Fiction is an unusual mix of the academic and the fannish; perhaps it will help bridge the traditional gap between those two subcultures. For subscription in formation, write to OCLS, PO Box 1137, Huntsville AR 72740 or call (501) 559-2273 during normal business hours. PARA. DOXA APPEARS Volume 1, Number 1 of the journal Para edoxa has appeared. This trimesterly academic journal is devoted to the study of non-aca demic or popular literature (called paralitterature by the French), encompassing 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, children's literature, bandes dessinees (graphic novels), comics studies, lost-world tales, popular culture, folklore, contemporary mythology, utopian literature, and more. 16

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SFRA Review #216, Marchi April 1995 The first issue of Para .doxa contains comments by Editor lauric Guillaud, Associate Editor Victor Reinking, and Managing Editor David Willingham, as well as thoughts from Editorial Board members, induding several SFRA members, on "Paraliterature" and the mandate of Para.doxa. There are artides by Alain-Michel Boyer, Robert Ellrich, James Winchell, Daniel Couegnas, and Duane Wilkins, and the is sue is rounded out with a bibliography of paraliterary critical works by Norbert Spehner, an interview with Ursula Le Guin, and a report by Le Guin on Readercon '94. The second issue is scheduled to appear in May; although it will focus on the mystery genre, it will contain a "silent interview" with Samuel R. Delany and contributions from other science fiction spe cialists. For subscription information or general queries, write to David Willingham, Managing Editor, Para.doxa, PO Box 2237, Vashon Island WA 98070. 1993 SFRA CONFERENCE PROCEEDINGS Imaginative Futures: Proceedings of the 1993 SFRA Conference, edited by Milton T. Wolf and Daryl F. Mallett, will be published in March 1994. The price is $41 for a hardcover, $31 for a softcover for non-SFRA members; $21 for a hardcover, $11 for a softcover for SFRA members. For ordering information, contact Milton Wolf, Uni versity Ubrary/322, Univ. of Nevada Reno, Reno NY 89557-0044. NOTES OF INTEREST The Winter 1994 issue (4: 1) of Peake Studies reached me in November, 56 pages, stapled, professionally printed by editor G. Peter Winnington, Les 3 Chasseurs, 1413 ORZENS, Vaud, Switzerland. Ann Yeoman contributed "'Arabesque in Motion': The Dreamscape of Gormenghast," and Duncan Barford '''Madness can be lively': the range and meaning of Mervyn Peake's nonsense verse," plus reproductions of severallinocuts of Richard Middleton, as well as some of Peake's own illustrations. Subscriptions are on a per page basis: $25 or ; check or Amex card to the address above. 17

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SFRA Review#216. March/April1995 Marge Piercy is profiled in the November 1994 issue of Current Biography, a publication found in most libraries. The semi-annual November newsletter of the Friends of the Merril Collection at Toronto PL, Sol Rising, includes interviews with Canadian authors Tanya Huff, Glen Cook and Josepha Sherman, and lists the Aurora awards and the much more inclusive list of English and French SF and fantasy by Canadian authors published in 1993. The Merrill collection was established in 1970, has grown to become the largest in Canada and larger than most U.s. collections. Although the collection is scheduled to move to a new, larger building in 1995, it will share the building with other specialized collections and is likely to face cuts in staff, budget and hours of operation. You can help support this important collection by mailing a check payable to the Friends of the Merrill Collection, 401-399 Dupont St., Toronto M5R 1W3; $25 individual, $37.50 institution. Some years ago, R. Reginald and Doug Menville assembled a col lection of early SF and related nonfiction that Arno Press published as facsimile reprints. These titles were among the unsold stock acquired by Ayer Company Publishers, Inc. (RR 1, Box 85-1, Lower Mill Rd., North Stratford NH 03590-9704,1-800-282-5413) which issued a 64 page catalog in December listing several hundred of the 20,000 titles available. For $19.95 you can buy several 3.5" diskettes listing all books available, refundable on any purd1ase of $50 or more. This initial tabloid catalog reprints the descriptions from a variety of subject catalogs. The SF section includes 50 works of early SF and 13 works of fairly early SF criticism, indexes, and bibliographies. Aver age costs are in the mid-$20s for clothbound editions with no jackets. Also in this initial offering are 17 Le Fanu titles, of which 12 are three deckers (3 volumes). The 50th anniversary double issue of Fantasy Commentator dated winter 1993/94 (Y. 8 No. 112, whole numbers 45/46) reached me in December 1994. This irregular journal began publication in 1943, suspended publication 1953-1977, but survives due to the determination and interest of its editor, A. Langley Searles, a retired professor of chemistry. Interviews with Fred Pohl and lloyd A. Eshbach, three pieces by Sam Moskowitz (a chronicle of collecting as fantastic as Sam himself, part three of his study of Nat Schachner'S SF, and part 14 of his ongoing history of early SF), and an excerpt 18

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SFRA Review #216, Marchi April 1995 from l\ like ;\shley's forthcoming authoritative study of Gernsback are among the articles. Verse by a variety of hands is supplemented by reviews and letters. This special issue is $10; regular subscription is $25 for 6 issues ($28 outside the U.S.) to Searles, 48 Highland Circle, Bron.wille l\.Ty 10708-5909. The December 4, 1994 Washingron Post Book World includes recommended lists by a variety of hands. john Clute selected these 1994 titles: Han'cst of Srars by Poul Anderson, The Iron Dragon's Daughter by \, lichael Swanwick, Green Mars by Kim Stanley Robin son, Hot Sky ar Midnighr by Roben Silverberg, and Heavy Weather by Bruce Sterling. For horror and suspense, Douglas Winter suggested EvelTil1e by Clive Barker, From the Teeth of Angels by jonathan Carroll, Insomnia by Stephen King, Street by jack Cady, Throat Sprockets by Tun Lucas, and a nonfiction account of a lethal virus, The Hot Zone by Richard Preston. Neil Barron ANIMATION CORRECTIONS, UPDATE The last of my survey of books on animation Review #210, p. -+2) should have read: "The most obvious un-met needs for the study of are an inexpensive source providing title ac cess to cartoon shorts; up-ro-date coverage ot recent trends in tele vision a.nimation, exemplified by The Simpsons and Ren and Stimpy; and stuclies of foreign animation, especially from japan." The latter need is only p,u-tly met by Helen McCarthy's Anime!: A Beginncr's C;uidc ro Jlpanese Anin7i:lDOn (Titan Books, 42-44 001ben St., London S[J OUP, UK, 1993, .99). According to a review by Tim Lucas in Video Watchdog 23, t"vlcCanhy's 64-page book is "reliable, knowledgeable, extremely well-vvritten and very pretty, but it no more th,m begins to flll the void that exists for a complete and definitive history of the subject." Other books \\'hich ha\'e appeared since r wrote my survey are: Barbara, Joseph ,\xelrod. 1\/Y Ufe in 'Toons: From Fiarbush ro J5cctmck in [!nder i:l CE'nfllI)" Tumer, 1994. 19

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SFRA Review #216, Marchi April 1995 Cox, Stephen. The {jinrsrones: A JvJodern Stone-Age Phenomenon, Tw-ner, 1 Finch, Christopher. 71Je An of the lion King, Hyperion, 1994. Finch, Christopher. Jim Henson: The l'\forks, Random, 1993. Frierson, )\ 1ichael. Cla}/ Animation: American Highlights 1908 to the Presenr, Twavne, 1994. Hollis, Richard. -"'aIr Disney's Snow White and the Seven Dwarfs and the of the Classic Film, Hyperion, 1994 (reprint, 1(87). Kenner, Hugh. Chuc1\jones: A Flurry of DralNings, University of Cal ifornia, 1 Krause, Martin and Linda Witkowski. Walt Disney's Snow White and the Seven Dwarfs: An .Art in Its Making, Hyperion, 1994. Merritt, l\ussell and ].B. Kaufman. Walr in 1Vonderland: The Silent Films of \Valr Disney, Johns Hopkins University Press, 1994 (reprint, 1 <)()2 bilingual edition in Italy). Peel, John. The O{{il'i:l1 Tlwnderbirds, Stingray and Captain Scarlet Progr:ul1I71e C:uicie, \ 'irgin (l 1993. Rogers, . "'upcrm:lrioJ1;llion Classics: Stingray, Thunderbirds and Cap win S"C:lrlcl and rJw !\lysrerians, Bo:\.tree (UK), 1993. Smoodin. f:ric. Disn(\' J)iscow-se, Routledge, 1994. Thompson, Frank. Tim Burton's The Nightmare Before Christ mas: The Film, rhe An, tile Vision, Hyperion, 1993. 1\'1y survey omitted three older books: Korkis, Jim. CUTOon Confldcnrial, )\'[alibu Graphics, 1991. Cawley, John and Jim Korkis. Cartoon Superstars, Pioneer Books, 19()O. Thomas, Bob and the Staff of the Walt Disney Studio. Walt Disney The An ofAnimdtion: The Story of the Disney Studio Contribu (jon lO a .r\'e\\'.411, Simon & Schuster, 1958 (o.p.). I failed to mention in the survey article that Alan Goble's The Inremnlioml Film I!Jetex, 1895-1990 (Bowker-Saur, 19(1) has an in dex of directors of animation which is extremely useful in conjunc tion \>\1th the directors' ntmographies which comprise most of Goble's volume 2. Michael Klossner 20

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SFRA Review #216, Marchi April 1995 NATIONAL rILM REGISTRY On l\'O\'cmbcr 14. 199-L Librari,m of Congress James H. Billington annowKed the titles of t\venty-five films to be added to LC's National Film Registry. There are now 150 films in the Registry. New genre films are Steven Spielberg's E.T. the Extraterrestrial (1982), Tod Browning's Freaks (1932), Don Siegel's Invasion of the Body Snatch ers (1956), Walt Disney's Pinocchio (1940, directed by Ben Sharp steen and Hamilton Lllske) and Snow White, a 1933 Betty Boop short cartoon din.'ctcd by \Ja\: and Dave F1esicher. Disney's Snow vvrute and the SCI'Cll D\\'dds (1937) was already in the Registry. Other in teresting ne\\' additions are John Frankenheimer's The Manchurian Candidate (1962). 1\ Jartin Scorsese's Ta:d Driver ( 1976) and Abraham Zapruder's ,UTh'ltcllr flIm of the Kelmedy assassination (1963). Michael Klossner 21

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22 SFRA Review#216, March/April 1995 1 995 S:f'.RA AnnuaL Con f crence Update AMY THOMSON LISA MASON SPECIAL GUEST: JOHN BRUNNER 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. CONFERENCE FEE: $105 until May 1, 1994 $11 5 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, 1575 E Cheery Lynn Rd, Phoenix AZ 85014. For discounts on plane fares contact 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, NO 58203-3145 (701) 775-5038 E-mail: Internetud068741@vm1.nodak.eduorGEnied.miller14

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SFRA Review #216, Marchi April 1995 SELECTED CURRENT & FORTHCOMING BOOKS ART, COMICS & ILLUSTRATION Aldiss, Brian W. A Mongrel Art: Aspects of SF and Fantasy, liverpool University Press (UK), Oct. 1994. 13ok, Hannes & Stephen D. Korshak. Hannes Bok Showcase, Charles F. Miller, Mar. 1995. Fabian, Stephen E. Women and Wonders, Charles F. Miller, Apr. 1995. AUTHOR STUDIES [Dick] Umland, Samuel]. (Ed). Philip K. Dick: Contemporary Critical Interpretations, Greenwood Press, Jan. 1995. [Geisel/Seuss] Morgan, Judith & Neil. Dr. Seuss & Mr. Geisel: A Biog raphy, Random House, Apr. 1995. [Huxley] Dunaway, David. Aldous Huxley Recollected, Carroll & Graf, Apr. 1995. [Piercy] Shands, Kerstin W. The Repair of the World: The Novels of Marge Piercy, Greenwood Press, Dec. 1994. [Shelley] Bennett, Betty T. (Ed). Selected Letters of Mary Wollstonecraft Shelley, Johns Hopkins University Press, Dec. 1994. [Thurber] Grauer, Neil A. Remember Laughter: A Ufe of James Thurber, University of Nebraska Press, Nov. 1994. FILM & TELEVISION Anderson, Robert. The Unofficial Joumey to the Planer of the Apes, Pioneer, Jan. 1995. Ellison, Harlan & Isaac Asimov. I, Robot: The musrrated Screenplay, Warner Aspect, Dec. 1994. Kinnard, Roy. Horror in Silent Films: A Filmography, 1896-1929, McFarland, Spring 1995. Stanley, John. The Crealllre Features Movie Guide Strikes Again (4th edition), Creatures at Large, Dec. 1994. HISTORY & CRITICISM Barron, Neil (Ed). Anatomy of Wonder, Fourth Edition, Bowker, Jan. 1995. Claeys, Gregory. Utopias of the British Enlightenment, Cambridge University Press, Dec. 1994. 23

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SFRA Review #216, Marchi April 1 995 Franklin, Bruce. Future Perfect: American Science Fiction of the Nineteenth Century, Revised Edition, Rutgers University Press, Jan. 1995. Seed, David (Ed). Anticipations: Essays on Early Science Fiction and its Precursors, liverpool University Press (UK), Oct. 1994. Weisenberger, Steven. Fables of Subversion: Satire and the American Novel, 1930-1980, University of Georgia Press, Feb. 1995. Zipes, Jack. FaiIy Tale as Myth/Myth as FaiIy Tale, University Press of Kentucky, Dec. 1994. MISCELLANEOUS Dick, Philip K. and Lawrence Sutin (Ed). The Shifting Realities of Philip K. Dick, Pantheon, Feb. 1995. REFERENCE Anonymous (Ed). Encydopedia Crhulhiana, Chaosium, Dec. 1994. SCIENCE Sagan, Carl. Pale Blue Dot, Random House, Dec. 1994. 24

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SFRA Review #216, Marchi April 1995 FEATURE REVIEW WEATHER REPORTS FROM CYBERSPACE by Richard Mathevvs Barnes,John. Mother of Storms. New York: Tor, 1994,432 pages, hardcover, $22.95, ISBN 0-312-85560-5. Sterling, Bruce. Heavy Weather. New York: Bantam Books, 1994, 310 pages, hardcover, $21.95, ISBN 0-553-09393-2. Our human instinct to talk about the weather seems to be an cient and universal. Of course, it's understandable, given the im mense influence weather has on our lives. And for periods of time, it seems technology gives us the illusion of an edge against it, the abil ity to construct dwellings to withstand the elements; central heating and cooling systems for climate control; dams to curb the flooding; irrigation and drought-resistant crops to survive the lack of rain; meteorology to predict what's coming next. Yet Mother Nature re minds us forcefully and regularly about the limits of our technologi cal ploys. Certainly she has given us plenty to talk about lately, including devastating floods, storms, droughts, and earthquakes. Global warming, ozone depletion, atmospheric testing, space explo ration, and a host of other man-made factors may be shaping the buffet which ]\'lother Nature dishes out. It's not surprising that science fiction \"Titers seem increasingly drawn to write about the causes and effects in our on-going love/hate relationship with weather. Two novel cybernetic weather forecasts published late last year, Bruce Sterling's Heav,v Weather and John Barnes' Mother of Storms, have already been mentioned in the same breath by reviewers in Science Fiction Age and elsewhere. If it has to be a race for first place between the t"vo, Sterling's book comes out the winner. But the novels are as different in scope and intent as they are apparently similar in their use of catastrophic weather and elements of cy berspace in plot, metaphor, and theme. It seems more worthwhile to ignore direct comp,u-isons and instead to consider these two well-25

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SFRA Review #216. Marchi April 1995 crafted books not only for their similar choice of symbolic and narrative focus, but for the fascinating stylistic and genre range they emtxxiy. Heavy Weather is a tour de force by an author who remains on the cutting edge of fiction. Sterling's skill with the rhythms and nuances of language enables him to write prose which sweeps the reader off the page and into the world he creates. Add his intricate, inventive plot; an array of compelling, fully realized characters; and a matrix of personal and global themes which resonate with vital is sues we are facing today, and you have a novel which is brilliantly entertaining, appealingly literary, and thoroughly satisfying. The novel's antiheroic protagonist Alex Unger is dying as the book begins, having sought treatment in an expensive Mexican black market cure factory which dispenses high-tech, unconventional (illegal) treatments only the rich can afford. Sterling's first words convey the fascinating mix of high technology juxtaposed with primitive elements, providing texture, conflict, and depth through the story: Smart machines lurked about the suite, their power lights in the shuttered dimness like the small red eyes of bats. The machines crouched in niches in white walls of Mexican stucco: an ionizer, a television, a smoke alarm, a squad of motion sensors. A vaporizer hissed and bubbled gently in the corner, emitting a potent reek of oil, ginseng, and euca lyptus. (p. 1) The book opens in bleak solitude as Alex gives himself over to another in a series of lifelong' attempts to escape the deathwaves as saUlting his weakened body. Sterling's development of the opening scene in which Dr. [vIirabi fills Alex's contaminated lungs with an oxygenated silicone "lung enema" to cleanse him of the chronic mucus filled \,vith "environmental pollutions, allergiC pollens, smoke particles, virus and bacteria" is simply stunning. It is an unforget table metaphor of physical and psychological desperation tied to is sues of global pollution, money, power, and control. Alex fights storms inside his body as though he literally embodies and internalizes the "heavy weather" of the title, while his sister 26

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SFRA Review#216, March/April 1995 Jane battles it in the outside world with a radical group known as the Storm Troupe. Sterling pulls the two fronts together by having jane, largely because she needs fresh financial resources, invade the illegal Mexican clinic and kidnap her still-unconscious brother, who drips silicone like oil sludge from his mouth as she carries him over her shoulder to a waiting escape vehicle and back. to the Troupe. From there an intricate plot swirls outward as Sterling follows Alex's affiliation vvith the Troupe, which is led by a charismatic ge nius, Dr. jerry Mulcahey, who is jane's lover. jane, who like her brother has inherited great wealth, has been financing the group's high-tech nomadic crusade hacking storms in an ecologically devas tated America where tornadoes decimate the countryside. The group of outcasts and misfits hangs together heroically amidst apocalypse as they try to crack the shape of the ultimate storm ("F-6") their leader has predicted based on mathematical and computer modeling. In accord vvith the recurring motifs of the rudimentary and high tech, they are a peculiar mix of primitive, almost ecclesiastical itinerant monks surviving on meager rations in the wilderness in paper clothes while traveling in superb military-surplUS "smart vehicles" and net\,vorked into miracle computers and real-time virtual reality simulators which let them hack the storms. Despite the technology and the elemental geography of the novel, this is an intimate, personal book. Sterling puts us inside his characters. We see e\'ents through the eyes of Alex and Jane, through the eyes of smart machines, and even through the eyes of storms. Relationships between people are explored in sensitive and profound ways, including one's relationship to family, lover, science, and belief. By contrast, John Barnes' book is distant and detached. Its mode is borrowed from epic and space opera, with a gigantic cast and orchestra performing on a stage vast enough to span the cosmos. The difference is immediately apparent as an intentional confusion of rapidly shifting points of view keeps the reader from feeling more than momentarily close to any single character. Barnes' style is peppered with invented jargon, and his future world is filled with new technology found clustered in the opening sentences: 27

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SFRA Review #216, Marchi April 1995 When the magnetic catapult on the mothership throws his little spaceplane forward and he kicks in his scramjets, somewhere over Afghanistan, he'll sail up and away into a high trajectory over the pole ... He's carrying four crambombs ... and that damned jack in the back of his head ... it's going to make him rich. (p. 11) The character in the pilot's seat is a throwaway, like many in the book, merely a pavvn in a vast, unfolding story, but the cybernetic jack in the back of his head links him to a web of virtual reality 1V which gives audiences the complete sensations of the characters they follow. It's a technology parallel to the information networks which also lace together the disparate characters, so that they and their readers can access and eavesdrop not only on global information, but on intimate and complete emotions of death, violence, catastrophe, and sex through the Newsporn Chatmel, Dance Chatmel, or the xrated soap operas of Passionet. Ironically, in a future wired for inti macy, Barnes suggests a desperate coldness and a lack of contact at the core. A healthy handful of characters are singled out for closer scrutiny. The most interesting of these include Mary Ann Water house, with a permanent brain jack at1d a re-engineered, scarred body ,1S tlK' pricc' she pays for being the Passionet star known as Synthi Venture; Brittany Lynn Hardshaw, President of the U.s.; her right-hand Harris Diem: the family Jesse, Lori and Randy House holder: and C1rie and Louie Tynan. As the book develops over more than 400 pages of small, tightly-set type, you begin to understand through them a spectrum of mat1Y life experiences, from which you are at once paradoxically distat1t and engaged. Barnes underscores the effect through the abstraction of the section titles used to punc tuate and organize the book: "Attractor," "Vortex," "Singularity." This novel cultivates distance and abstraction as necessary perceptive skills in readers. It leads us through figures, into technology, and fi nally into a cybernetic future \"ihere survival depends upon surrender of the body to the efficiency, power, and in1mortality of sentient machines. He also shows us, particularly through Waterhouse and Tynan, the trauma of losing touch vvith the body. Along the way he that the science fiction genre is big enough to embrace writing more about concept than character. 28

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SFRA Review #216, Marchi April 1995 After reading Sterling, I found Barnes frustratingly cavalier with his characters, giving the reader a quick take of a scene, situation, point of vievv then almost arbitrarily breaking away a page or two later to something completely different Only slowly do the bits and pieces begin to coalesce, and then they form no so much a character study, but a grid which begins to convey a radically different global/galactic social order in 2028. Despite an immense scope of space and character, the book only encompasses a few months time, from June to September, 2028, when the \\'hole earth copes with the results of a mission to destroy weapons on the seabed of the Arctic Ocean. As a result of a targeted preemptive strike, the weapons are obliterated, but in the process huge quantities of trapped methane are released, producing an in tense greenhouse warming effect and spawning an immense killer hurricane capable of torally cumihilating everything in the thousands of miles it u-averses. Not only does it feed on itself and fail to die, it gives rise in turn to other storms in its wake. In a social order redefined by Global Riots, the surviving free states, individual power brokers, entertainment conglomerates, and {XlliticiculS fail to produce an adequate response. However, individual actions small gestures of heroism in disaster situations; the execu tion of justice; a self-sacrifiCing impulse to stop the storms by blending human and machine in a cybernetic synthesis large enough to encompass and alter the shape of the physical universe offer moments of hope in Barnes' story. As a stylist, Barnes seems pedestrian in the wake of Sterling's stunning prose, but he has constructed an epic work which becomes in the end an impressive feat of imaginative writing, a large and memorable canvas \vhich leaves the reader with the sense of having been engaged and Both Hei:lI'j' Wearher and ."fother of Storms are successful in creating vivid futurescapes vvith characters and problems which are challenging, daunting, and inspiring. It's a pleasure for me to be reminded that the science fiction genre itself is expansive and recep tive enough that a similar metaphor can emerge at the sanle moment in such different, interesting, successful treannents. 29

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SFRA Review#216, March/April 1995 NONFICTION REVIEWS Donawerth, Jane L and Carol A. Kolmerten (Eds). Utopian and Science Fiction by Women: Worlds of Difference. New York: Syracuse University Press, 1994,260 pages, softcover, $16.95, ISBN 0-8156-2620-7. Utopian and Science Fiction by Women, part of Lyman Tower Sargent and Gregory Claeys' Utopianism and Communitarianism series, is a significant addition to feminist studies of women's utopian and sdence fiction. Editors Dona\f\.'erth and Kolmerten have produced a collection of twelve essays with a coherence that is unusual for such collections. The essays trace women's utopian fiction from sev enteenth century England and France through the twentieth century, when utopian and science fiction overlap. What emerges is a picture of the ways in which women's utopian visions have persistently dif fered from the malestream ones. Essays by Lee Cullen Khanna and Ruth Carver Capasso on Margaret Cavendish's "A New Blazing World" and three French writers' utopian writing respectively initiate the investigation of a tradition of women's utopian writing with studies of seventeenth century texts. Khanna identifies several common features of recent women's utopian writing tllat distinguishes it from men's, and locates these same features in Cavendish's expression of women's desire three centuries ago. Capasso writes of the precielLx's focus on the psycho logical and interpersonal, rather than the economic and political, in their revisions of sodety. linda Dunne's thought-provoking "Mothers and Monsters in Sarah Robinson Scott's Milleniwn Hall' and Rae Rosenthal's study of Jane Gaskell's Cranford add eighteenth and nineteenth-century texts to the women's alternative tradition of utopian writing. Jean pfaelzer examines nineteenth-century short stories by Rebecca Harding and Louisa May Alcott. She suggests that feminist utopias are organized around social projection of intersubjectivity, and shows that these stories resist the familiar impulse of utopias toward definition and domination. Carol Farley Kessler'S essay moves into the twentieth century, examining nine of Charlotte Perkins Gilman's short stories which antedate Herland and offer realizable utopias. 31

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SFRA Reliiew#216, March/April 1995 The remaining three essays are broader in scope. Carol Kolmerten surveys utopian writing in 1890-1920 by more than 30 American women, concentrating on the way they negotiate the conflict between the stereotypical plots of the sentimental novel and the writers' desire to give their female characters power over their own lives and a community in which the mutual support of women fig ures strongly. Jane Donawerth studies the distinctive contribution eight women writers made to the early science fiction pulp magazines, long thought of as male territory. Naomi Jacobs notes the predilection towards a frozen landscape which frees women from identification with the fertility of nature in utopian and science fic tion by w:>men from Margaret Cavendish to Ursula Le Guin. Utopian and Science Fiction by Women has the best features of both a monograph and a collection: the substance and coherence of a monograph plus the richness of the diverse approaches and special izations of the twelve contributors. These range from established utopian scholars to doctoral students, from Trekkies to theorists, from a free-lancing (award-winning) mother to full professors. The editors' introductory essay, their thoughtful selection and organiza tion of essays, and the collective bibliography and index build coher ence. Their introduction postulates a continuous radical literary tradition in women's literatures of estrangement from the seven teenth century to the present, conte..xtualizes each of the essays that follows, and fills in gaps between them. A number of the essays introduce works that will be new to many scholars of utopian and science fiction, and the different approaches to women's variations on traditional utopian literature makes it a compendium of feminist literary criticism. Highly recommended. Susan Stone-Blackburn 8ms, Alan C. Uncovering lives: The Uneasy Alliance of Biography and Psychology. New York: Oxford University Press, 1994,315 pages, hardcover, $25.00, ISBN 0-19-508287-7. Psychobiography is biography illuminated with psychological insights. Its image has been tarnished by narrowly dogmatic pronouncements dictated by preconceived agendas. Uncovering lives ought to burnish the image. 32

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SFRA Review #216, MarchI April 1995 Ems is a professor of psychology at the University of California, Davis. He presents an objective and comprehensive survey of the topic, based on intensive research, supporting his argument with case studies ranging from Freud, Jung, and Skinner to Jimmie Carter, Ge orge Bush, and Saddam Hussein. His conclusions are often stated in a disarmingly cautious way. At least to me, they are generally convincing. The heart of the book is devoted to writers of fantasy and science fiction: John W. Campbell, Robert E. Howard, Cordwainer Smith, Isaac Asimov, L. Frank Baum, Vladimir Nabokov, and myself. Though his picture of the early Williamson was sometimes a little painful, I was happy to cooperate with his study and I have no quar rel with it. Asimov's attitude was somewhat different Ems picked him as a sort of control, a writer whose work might be free from distinctive psychological hang-ups, but soon discovered the agoraphobia that confined him to his home and his typewriter through most of his life, and shaped much of his work. Cooperative at first, Asimov later published a defensive column, suggesting that psychologists analyze writers to cover up their own neuroses. Nabokov, like George Will, was an outspoken critic of Freud and Freudians, given to frequent ridicule of the "Viennese Quack." Elms allows us to enjoy a very Freudian interpretation of one of Nabokov's favorite stories, "Cloud, Castle, Lake," as a symbolic expression of his own unconscious longing for a return to the womb. Though I must confess to a special interest in the chapter on my own life, I found the whole book engaging. I think it should appeal to general readers as well as to fans and critics of science fiction. Jack Williamson Hardy, Phil (Ed). The Overlook Film Encyclopedia: Horror. Wood stock, New York: Overlook Press, 1994, 496 pages, hardcover, $50.00, ISBN 0-879-5 ISI8-X. Hardy's Aurum Film Encyclopedia: Horror (198S; u.s. publica tion, The Encyclopedia of Horror Movies, 1986) covered about 1,300 33

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SFRA Review #216, Marchi April 1 995 films from the 1890s through 1984. This current edition (published in Britain in 1993 as The AWllI1J Film Encydopedia: Horror, 2nd Edition adds nine films for 1984 and about 450 for 1985 through 1992. Material from the old edition is almost unchanged, but annotations for Don't Look Now(1973) and Dawn of the Dead (1979) have been added. The new edition drops three appendices from the 1985 edi tion "Critics Top Tens," "Horror Oscars," and a "Select Bibliography"; updates a list of "All-Time Horror Rental Champs"; and adds a new appendix, "Most-Filmed Horror Writers," listing the films based on each author's works. Otherwise, the new edition has the same features as the old: chronological arrangement; high-quality, well-informed, 100to 500-word critical annotations; principal cast and credits; black-and-white and a few color illustrations; exceptional coverage of foreign fIlms; and a title index in tiny print. In his preface, Hardy reveals that Kim Newman "was responsible for the major revision that this edition represents." Thus the new volume updates not only the old Encydopedia but also Newman's ex cellent study of 1968-1988 horror films, Nighcmare Movies (1988). Newman notes that the 1980s and 1990s have seen "the eruption of the horror narrative into mainstream Hollywood cinema." He there fore includes several films which lack supernatural elements and which mainstream critics often dub "thrillers" -Blue Velvet, The Stepfather, Fatal Am-action, Cape Fear, Misery, and The Silence of the Lambs. Even with ninety-four new pages, Newman cannot cover every fIlm from the eight year period; in several cases he merely lists minor sequels in the annotation for the fIrst fIlm in a series. The revised edition of The Aurum Film Encyclopedia: Science Fiction (1991) was reviewed by Brian Stableford in SFRAR #195; it has now been published in the U.S. as The Overlook Film Encyclope dia: Science Fiction ( 1994). The AWllI1J Encyclopedia was planned to have a volume for every genre, including comedy, romance, war, epic, thrillers, crime, and musicals. In ten years, volumes for only three genres have appeared horror, science fIction, and westerns. Scholars of the fantastic are fortunate that two of "their" genres are among those three. Hardy's encyclopedias are essential first steps for reserach in genre films. Should libraries which own the fIrst edi tion of Horror spend $50.00 for an additional ninety-four pages cov ering eight years of ftlms? For this level of quality, they should. Michael Klossner 34

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SFRA Review #216, Marchi April 1995 Harrold, John R 8 Great Science Fiction Classics: Synopses, Word Study, Quizzes, and Writing Activities. Portland, Maine: J. Weston Walch, 1994,89 pages, softcover, $15.95, ISBN 0-8251-2452-2. (]. Weston Walch, Publisher, PO Box 658, Portland ME 04104-0658) John R. Harrold's 8 Great Science Fiction Classics provides reprodudble materials for eight science fiction classics that appeal to the varied reading levels of 9th to 12th grade students: 1984, Flowers for Algernon, Brave New World, Fahrenheit 451, A Wrinkle in Time, The Time Machine, Dragonsong, and Enemy Mine. The study materi als include synopses, vocabulary previews, and novel preview ques tions. These materials guide students through important novels' elements, suggest obvious themes, and help students apply the ele ments and themes to contemporary thinking. Harrold provides vocabulary quizzes, multiple choice and short answer quizzes, essay questions, and composition topics. This book would be a useful basic resource in a science fiction unit. Sherry Stoskopf Ishihara, Fujio. S-F Tosho Kaisersu S6morkuroku 1971-1980. [Author's preferred translation: S-F Grand Annotared Caralogue 1971-1980] S-F Shiry6 Kenkyukai [SFMRA: SF Research Mate rials Association]. Five softcover volumes, total of 2,338 pages with approximately 3,200 illustrations. [Price and publisher's information and address not available at tllis time; I hope to indude it in our ne\.1: issue Ed] This monumental work is a continuation of the author's defini tive S-F Tosho Kaisersu S6morkuroku 1946-1970, in this case provid ing a practically complete coverage of the great outburst of science fiction in Japan during tlle eighth decade of this century. It covers both native work and translations; in the latter, English predominates, but entries include material from French, German, Russian, Italian, and other lcmguages. The heart of tl1e book, comprising the first t\'\'o volumes, is an exhaustive list of books arranged by publisher, with books further broken down into series and by monthly date. For each book Profes sor Ishihara provides Japanese title, author, translator, cover artist, 35

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SFRA Review #216, Marchi April 1995 publication date, pagination, and page size. For works of foreign ori gin he prints the author's name first in katakana, then name and book title in Roman. Contents of anthologies are treated similarly. Children's books are listed separately. All together, according to the author's figures, about 3,550 containing about 20,000 stories are covered. For many books and stories Ishihara offers brief conunents in Japanese. A typical one would be the entry for Abbott's Flatland: "Masterpiece novel explaining in game-like manner life and culture in one and two dimenSional worlds." Succeeding volumes offer complete indexes: chronological, title, translators, and author/editor. Separate indexes are present in Roman for foreign-language authors and titles. As a result of these in dexes, plus the double entry in the basic book listings, an American reader can discover at a glance exactly what American, British, or other foreign SF has been published in Japan during this period. Within this coverage, the American reader must remember that the Japanese concept of SF (which two letters have assumed the sta tus of a kanji) is not exactly that of English-language SF; it shades over more into supernatural fiction. Thus, Lovecraft, Hoffmann, Howard, and Blackwood have strong listings. Associational material is also included. Volume Three contains about 3,200 half-tone illustrations of book covers, coordinated with the listings in the first two volumes. Though small, these illustrations are clear enough to show a wide range of cover concepts photographic, calligraphic, illustrative and abstract. This remarkable work is obviously indispensable for anyone who is seriously interested in Japanese science fiction and can read Japanese. But it also has reference use for those who cannot read Japanese. It opens up the field of translations of Western authors, for compiling complete author bibliographies. It is also most inter esting in offering a glimpse at a different tradition of cover art. Further, at this point the concept of comparative science fiction, paralleling the general concept of comparative literature, is gradually and unconsciously emerging. I note the national selections in Neil 36

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SFRA Review #216, Marchi April 1995 Barron's Anatomy of Wonder (third edition, 1987); the period rOW1d ups in Locus; and articles in Science Fiction Studies and elsewhere. At the moment much of this is on an anecdotal or commerdallevel, but eventually it will move deeper, to a cultural level. In such cir cumstances, Ishihara's great work would be without peer for its area. It should be added that Fujio Ishihara, in addition to being Japan's premier SF bibliographer, is an important writer of hard science fiction. He is also a professor at Tamagawa University. Recommended for large libraries. Indispensable for those with strong collections of Oriental literature. Everett F. Bleiler James, Edward. Science Fiction in we Twentieth Century. New York & London: Oxford University Press, December 1994, 250 pages, hardcover, $45 (), ISBN 0-19-219263-9; softcover, $11.95 (.99), ISBN 0-19-289244-4. If someone you knew wondered if there was really any merit in that "Buck Rogers stuff' and asked you to recommend one recent short introductory work, what book would you have selected? In 1977 you could have recommended another Oxford book, the intro ductory survey Science Fiction: History, Science, Vision by Scholes & Rabkin. Nine years ago you might have selected Trillion Year Spree, although it's probably too detailed for the casual reader and is now a bit dated. Tom Clareson's Understanding AnJerican Science Fiction: The Fonnative Period, 1926-1970 (1990) is much too restrictive. With all the nonfiction devoted to SF in recent years you would think there would have been such an introductory study readily available. Now there is. Edward James is a historian at York University with a specializa tion in the early medieval period, a background quite different from that of a typical English professor. He was hooked as a kid in 1952 and joined the BSFA a decade later. Since 1986 he has edited Foun dation. What James has done is write a cultural history, not a literary history that focuses on a series of texts, which is the usual approach. 37

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SFRA Review #216, Marchi April 1995 The focus is SF but not as a purely literary phenomenon, since "Its ideas and icons have permeated the imagery of cinema, television, rock music, and advertising; have come to dominate the world of play, from Ninja Turtles and transformer robots to comics and computer games; and have helped to create religions (like scientology) and popular delusions (like flying saucers)" (preface). The main text consists of five chapters (208 pages) followed by notes, a four-part bibliography, and a good index. Chapters 1,2 and 5 provide a historical overview, officially beginning with Wells but with some discussion of earlier traditions, such as the extraordinary voyage or tale of the future. The emphasis is on Anglo-American SF, but there is some useful discussion of contrasting European tradi tions. Chapter 3 is especially valuable for the skeptical viewer of SF most of the reading public. James discusses SF and the mainstream, the sense of wonder, and reading strategies (a superior treatment), concluding with a short discussion of three quite different short sto ries "Nightfall," "The Moon Moth," and "Ught of Other Days" to illustrate many of his earlier points. Chapter 4 discusses the regular readership/viewership of SF, the various groups which comprise what James calls the SF community. The crucial role of fandom (including modern non-print oriented groups like Trekkers) is discussed in illuminating detail; James puts forth that" ... the most significant contribution of fandom to sf was the production of writers," ;md discusses tl1at subculture vvith equal per ception. There is a balanced treatment of the "lunatic fringe" of be lievers in UFOs, the Bermuda Triangle, Atlantis, ESP, etc. "The un palatable trUtl1 is tl1at sf presented as fact reaches a far wider audi ence than sf published as fiction." Good as his account is for the skeptic, it should be even more valuable as a basic classroom text. It doesn't have problems or questions but its broad scope, clarity, balance and bibliography will enable any instructor to use it as a stimulus to further exploration, and students will applaud its modest cost. Very highly recommended. Neil Barron 38

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SFRA Review #21 6, Marchi April 1995 Sanders, Joe (Ed). Science Fiction Fandom (Contributions to the study of sdence fiction and fantasy, no. 62). Westport, Connecti cut: Greenwood Press, 1994,293 pages, hardcover, $55.00, ISBN 0-313-23380-2. Joe Sanders summarizes well in his preface to Science Fiction Fandom both the purpose and scope of this endeavor when he writes, "After all, this book is the first to try to pull so many aspects of fandom together for e'(amination. Surprisingly little scholarship on fandom exists, and not many of the writers come from academic back grounds" (p. xii). Consisting of twenty-six chapters written by various longtime members of the subculture of science fiction fandom, this book pro vides an almost panoramic view of the aspects encompassed by this subculture. Five master headings, followed by a bibliography and glossary section, group the various essays. Section one, titled "Roots of Fandom," contains two essays, one each by the "fannish" vvife and husband team of Juanita and Robert Coulson. Juanita, publisher of Hugo-winning fanzine Yandro, has written an essay called "\A/hy is a Fan?" which recounts the many self-administered tests and surveys conducted at clubs and conven tions, and sUIl1ffi:trizes her interpretation of these findings. She feels that science fiction is a literature of change, and science fiction fandom is a subculture that perpetuates itself through change. The essay by Robert Coulson, co-editor of Yandro, is titled "Fandom as a Way of life"; it acts as a short introduction to the subculture's scope and the following sections of the book. The second section, containing six essays, traces the history of science fiction fandom in America. The first essay in this section is a reprint of the essay by Sam Moskmvitz, "The Origins of Science Fic tion Fandom: A Reconstruction," first published in Foundation 48 (Spring 1990). Robert A. tvJadle has the honor of describing "Fandom Up to World War II" in the fourth chapter while Art Winder continues with an essay on random during World War II. Longtime fan historian Harry Warner, Jr. continues the section with chapter six, "Fandom Bet\veen VVorld War II and Sputnik." 39

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SFRA Review #216, Marchi April 1995 The seventh chapter by rid1 brovvn attempts to cover the period from 1957 through 1990. At times, this essay self-admittedly tends to be a bit esoteric, relying on sulxulture jargon and focussing on the subculture members involved in amateur press associations (APAs) and fan magazine production (fanzines). The glossary at the end of the book clarifies some of these terms, making the essay more ac cessible to the uninitiated. As part of the total picture of the subcul ture, this essay is essential. It argues that science fiction fans are fans in the true sense of the word, meaning enthusiastic amateurs, not would-be professional \"Iriters. Extensive notes in the back of tillS essay also help clalify the discussion. john and Bjo Trimble, another "fannish" husband and wife team who are extensively involved in Star Trek fandom, discuss such branches of the subculture in chapter eight, "Alternative Fandoms." Among the brcU1ches discussed are various media fandoms, especially Star Trek, as well dS the Society for Creative Anachronism, COnllCS fandom, japanese cmimation, a:;1thropomorphic animation, gaming, electronic discussion groups (bulletin board systems), costunling and filksinging (science fiction folk singing). Part three, "Variations <.U1d Echoes," covers science fiction fandom on foreign soil, and presents a good overview although a chapter of Russian science fiction is conspicuously nllssing. Terry jeeves gives us a lively description of the slightly younger British fandom; he traces the history of several British science fiction magazines and weaves this into a discussion of the changing nature of British SF conventions and the ne""ly proliferated fragments interested pri marily in media related science fiction ,md fantasy. He also makes the point that many nevv fan publications are going electronic, fed via telephone lines ,md modems from the publisher's computer to the reader's computer. Pascal j. Thomas describes Western European science fiction fandom from a french perspective, dating the first organized club meetings from the 1950s along with a proliferation of fanzines. Science fiction conventions did not appear in France until the 1970s and tend to be held in community cultural centers attracting small groups between one and three hundred. Interestingly, Pascal states, "On the continent, women in fandom are still about as common as 40

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SFRA Review #216, Marchi April 1995 extraterrestrials, despite a non-negligible number of women writers and editors at the professional level" (p. 122). In chapter eleven, Roelof Goudriaan attempts the task of describing the small groups of European fandom. He attributes the small sizes to the perception that science fiction is primarily an American genre and that most of the science fiction available must either be read in English or translated. "Fandom in China" is the topic of chapter twelve by Wu Dingbo, who teaches American literature at Shanghai International Studies University after earning his Ph.D. here in the United States with a dissertation on feminist science fiction. He describes science fiction as having reached Chinese readers through translations starting with Jules Verne's Around (he World in Eighry Days, translated and printed in 1900. Shortly thereafter (1904), Chinese written science fiction began to appear. Fan groups did not begin to appear until the late 1970s, but Wu Dingbo advances "they have played significant roles in the development of Chinese science fiction. First of all, fan activities mark the beginning of the most elaborate and efficient literary feedback system" (p. 135). "Sdence Fiction Fandom in Japan" by Masamichi Osako describes organized Japanese fandom as beginning just after World War II with the founding of the SF fan group Uchujin (Star Dust). In his opinion, the most serious barrier to shared American and Japanese fan experience is the bck of translators. Part four, "Social Interactions," contains three chapters. F.M. Busby covers the history and workings of a science fiction club, The Nameless Ones of Seattle, Washington; he traces the standard progression from club formation to club newsletter production to the almost inevitable consequence, a science fiction convention. Hank Luttrell continues in the ne\:r chapter with a deSCription of what goes on at a convention. Chapter SL\(teen by Tom Whitmore and Debbie Notkin gives the reader a behind the scenes look at how large SF conventions, includ ing the World Science Fiction Convention (Worldcon), are organized and run by volunteers. They succeed in capturing the chaotic and political flavor of these large volunteer-run events while still por-41

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SFRA Review #216, Marchi April 1995 traying the fun and excitement involved in attempting to cater to the interests of thousands of people. This chapter contains the only fac tual error I found; Whitmore and Notkin may have confused the initials for the Washington Science Fiction Association (WSFA) with those of the World Science Fiction Sodety (WSFS) which is the actual organization that administers the bylaws and service marks of the Worldcon. The final set of essays is contained in part five, "Long-Term Re sults." This section gives viewpoints from participants of various ac tivities prominently associated \vith the science fiction fan subcul ture. These include a discussion of fanzines by Harry Warner, Jr.; a description of amateur press associations by Bernadette Bosky; an analysis of the connections between professional SF writers and the amateurs by Richard A. Lupoff; ,m "apprenticeship" of an SF artist as experienced by jack Gaugh,m; a history of fan-created publishing houses chronicled by Robert Weinberg; a delightful if somewhat sex ist description of a science fiction collector by Howard DeVore; the academic viewpoint with excellent endnote references by Russell Letson; and a commentary by Sandra Miesel on "The Fan as Critic." Miesel concludes that ... fans constitute an energetic and knowledge able body of critics [that] serious scholars would do weil to consultand appredate" (p. 240). The sixth <.U1d final section contains an excellent bibliography compiled by joe SiL'alri and <.l glossary compiled by joe Sanders and rich brown. The bibliography is extensive and weil-researched; the glossary one of the best I have come across. This text has many uses. As a teaching tool, Science Fiction Fandom can be used to introduce literary students of the genre to the subculture built upon that genre. For the academic interested in science fiction, this book creates an awareness of the incredible amount of non-academic scholarship regarding the genre. For the neophyte interested in joining tlle subculture'S activities, it can serve as a guide to the various aspects of partiCipation and an introduction to some of the subculture's members, history, traditions, mores and jargon. If you are a longtime science fiction fan, this book unques tionably belongs in your collection. -B. Diane Miller 42

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SFRA Review #216, Marchi April 1995 FICTION REVIEWS Besher, Alexander. Rim: A Novel of Virtual Reality. New York: Harper Collins West, 1994,357 pages, softcover, $13.00, ISBN 006258257-4. Readers' initial reaction to Besher's first novel, decorated with glowing prepublication quotes from hot techno-gurus, may be that we were lucky WillicUTI Gibson didn't know much about computers when he wrote Neuromancer, as a result, Gibson was forced to tell a story we could understand fairly easily. Besher is more demanding, throwing technical innovations, New Age jargon, and Japanese tenns at the reader in a be\,viiciering gush. Still, Besher does some clever things while almost ovenvhelming the reader with strangeness. Disorientation can produce hlmlor, for example, as in this scene in which Rim's hero Frank Gobi, Psychic P.I. -is trying "interactive sushi" for the first time: "In other words, Frank-san," [another character ex plains], "if you agree to accept the living essence of the food into your O\'vn higher path, so that the fish accepts your path of evolution as the next step in its mvn evolution. Under stand?" "I see. And the sensors on the chopsticks?" Gobi had no ticed that the chopsticks had t1ashing sensors. "They cali brate the fish's aura?" "Oh those. They are nothing. Just for decoration." "Yes, we got those cheap from Taiwan," Ama smiled as she brought them a steaming bottle of sake and some small cups. (p. 242) In its straight-faced way, Rim is a very fW1l1Y book. Another advantage of hitting readers with a wave of strangeness is tllat when vve do surface, blinking and gasping for breath, we realize how many diverse elements we can incorporate into a meaningful whole. The satisfaction of doing this interactive reading may, in fact, supplement whatever the \'\!riter put on the page, and Besher exploits this in his detective-story plot. Rim is a Chandler-baroque tale, in vvhich the hero battles several competing 43

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SFRA Review#216, March/April 1995 factions to fmd one supposed prize (a missing Japanese tycoon) that we soon realize is connected to other puzzles (Why does Tokyo vanish every night? Why did the most popular virtual metropolis suddenly go off-line with the consciousness of thousands of users trapped inside?); that in tum, swirls us toward a showdown with an ageless monster/rogue programmer/virus. The mysteries are solved--as well as they are in most Chandleresque mysteries, anyway--but the novel's main pleasures are its color, wit, and nerve. Those are considerable. So Rim is recommended, even though I'm still not sure I always was laughing in the right places. -Joe Sanders Canon, P.H. Scream for jeeves. New York: Wodecraft Press, 1994, 87 pages, softcover, $7.50, ISBN 0-940-88460-7. (Available from Necronomicon Press, PO Box 1304, West Warwick RI 02893. Hardcover also available for $20.00.) Peter Cannon has already proved himself a first-rate Lovecraft parodist and scholar; his "Sunset ImageJY in Lovecraft" and Other Essays was favorably reviewed in SFRA Newsletter #184. The present volume reflects Cannon's high-level parodistic ability in the service of the author who, aside from Lovecraft, appears to be his faVOrite, P.G. Wodehouse. The maguffin of Scream for jeeves finds the impossible Bertie Wooster and the unflappable Jeeves wandering in on three of Love craft's finest short stories, "The Rats in the Walls" (here as "Cats, Rats, and Bertie Wooster"), "Cool Air" ("Something Foetid," with Randolph Carter as the strange recluse's close friend), and "The Music of Erich Zann" ("The Rummy Affair of Young Charlie," with Charles Dexter Ward as secondary protagonist). Cannon's aim here is to retell the tales as altered by Wooster's and Jeeves' presence, and in Wooster's well-known style. I have read enough Wodehouse to be able to judge the quality of Cannon's parodistic talent, which I fmd very elegant indeed, but also to know that, unlike Cannon, I lack the higher connoisseurship to really love Wodehouse's prose. The Volume is completed by an essay that displays Cannon's remarkable talent for writing readable and insightful criticism, "The Adventure of the Three Anglo-American 44

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SFRA Review #216, Marchi April 1995 Authors: Some Reflections on Conan Doyle, P.G. Wodehouse, and H.P. lDvecraft." Cannon traces Conan Doyle's influence on both younger writers, and the similarities (there are some!) between Wodehouse and Lovecraft, both as writers and in their critical reception. This es say makes the book worth the price of admission alone. Many years ago in San Francisco, I had a friend who loved cool jazz and shellfish dinners. Inheriting some money, he opened a restaurant that served shellfish exclusively, and employed the best cool jazz musicians. He went broke in a few months; he was one of a very few who had the same two grand passions. I hope for Cannon's sake that there is a horde of Lovecraft admirers who are also Wode house completists. His talents deserve a wide readership, but I'm not sure this is the book that will garner it. For his sake I hope I'm wrong. -Bill Collins Collings, Michael R. A Vapor of Vampires. Thousand Oaks, Cali fornia: Buckthorn Chapbooks, 1994,30 pages, chapbook, $4.00. (Michael R. Collings, 1089 Sheffield Place, Thousand Oaks CA 91360-53530) Michael Collings, a regular contributor to the SFRA Review, is also a widely published poet. As its title suggests, his nevvest chap book brings together Collings' vampire poetry, much of it previously published in magazines like Srar*IJne, Space &-Time, and Undillal Songs, or in one of the author's earlier collections. To put it briefly, A Vapor of Vampires is a delight. Despite the narrow topic, the author hits a vvide range of forms and themes, moving from the overheated grotesquerie of "Succubi" and "Vespers for a Vampire," in which "I cast myself upon her grave,! Fevered brow on feathered ferns," to the Shel Silverstein-like whimsicality of "A Visit from Grandma," whose child narrator tells us that When Grandma comes, I grab my hat -My Grandma, you see, is a vampire bat. She creeps and skulks in human form All day long, and tries to warn 45

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SFRA Review #216, Marchi April 1995 Me of imminent dangers of the sun, Sharp bannister-rails and all things fun. Opening the collection is "The Damnation of the Dawn: A victim's aube," in which we learn why a young wife might prefer a vampire's caresses to those of her older husband. The aube is a traditional fonn in which the speaker is a woman, part of a love triangle, who has just awakened and now bemoans the fact that she must part from her lover. In the following lines Collings evokes the woman's mixed feelings in a masterful fashion: Offidous warden of unending day -He does not guess ... would not believe if he could. But still .. A knife-edged sunray slices sheening quilt, caressing bed and sated flesh with hideous warmth. My lover moans. Other poems worth of mention are the Browning takeoff, "My Last Nemesis," with its ironic final line, "There's always a Von Hels ing!"; the intensely atmospheric "Grey," in which "A scintillance of grey sparrows/ spears an old black yew pruned in tough/ triangular grace/ beside black asphalt on a grey/ November day ... "; the over the-top "Crucifa-x," which fully merits its dedication to splatterpunk novelist Ray Garton; and "The Midnight Club, Seven at the Local FastFood Joint," a sort of vampire-infested variation on Hopper's Nighthavvks. A Vapor of Vampires is a fine chapbook and should have wide appeal for readers of horror poetry. Michael M. levy Crowley, John. Love & Sleep. New York: Bantam, 1994, 502 pages, hardcover, $22.95, ISBN 0-553-09642-7. Readers of jolm Crowley's Love & Sleep will recognize its affinity with his earlier novels, Little, Big and Aegypt in the opening line of its prologue: "Once, the world \.vas not as it has since become." Here, too, Crowley would take the reader on an exploration of the world as an elusive, shifting medium that cannot be conveyed within the paradigmatic materialism of contemporary sdence. 46

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SFRA Review #216, Marchi April 1 995 Instead, he would have us share a multiple perspective, one in which the world we have accepted as real intervenes between us and earlier ones that operated with other principles. The novel develops as if these worlds were a set of concentrically carved Chinese spheres, but the spheres themselves have a topology like Klein bot tles. According to the multiple perspective of Crowley's narrative, the Renaissance in Europe experiences a transition from one world to the next, and the last twentieth-century is experiencing yet another such transition. Pierce Moffett, the protagonist of Love & Sleep, finds himself tantalizingly aware of this transition, and the novel becomes the record of his effort to make sense of it. Geographically, this effort takes Pierce to Kentucky, New York, and Florida. Chronologically, the narrative restructures his travels so that he begins and ends in Florida And psychologically, it restructures his linear chronology, so that events in Kentucky and New York work as analogs of each other, and his perceptions in the twentieth-century work as analogs, in tum, for those in the Renaissance. The narrative itself is given three principal divisions: Genitor, Nati, and Valetudo. Most of Genitor is set in Kentucky, where the child Pierce and his mother, Winnie, go to live with her brother Sam and his four children. With his cousins, Pierce is tutored by Sister Mary Philomel and encounters a local girl, Bobbie, whose grandfather has a self-righteous temper and a self-devised apocalyptic reading of the Bible. Most of Nati and Valetudo shuttles back and forth between New York in the present and Europe in the late sixteenth-century. Having earned a doctoral degree in history, Pierce is working on a book about the world's transition. In the process, he reads a manuscript by Fellowes Kraft about an encounter between Giordano Bruno and John Dee, both of whom are aware of a comparable transition in their century. For the post-modernist reader, there is not much of a leap to the perception that Love & Sleep is itself an analog of the book Pierce would write. Not surprisingly, Crowley deploys much more of his narrative on his ontological theme than on traditional action or plot. Although Pierce and the cast of characters in his life are adequately individ-47

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SFRA Review #216, Marchi April 1995 ualized, Pierce thinks and imagines and feels more than he acts, and the rest of the characters exist through his awareness of them. With a lot of reflection on relatively little action, the narrative has a para doxical qUality: while the whole world is transforming itself, not much is happening on the surface. At the same time, the narrative is dense with interpretations of the changes beneath the surface. The indicators that one reality is replacing another remain subtle and often ambiguous, matters for which interpretation seems at least as important as perception. like a multiple photographic exposure, the overlapping realities confuse the ordinary processes that make sense of human experience. With the world in transition, the potentials for all worlds coexist, so that magic and miracles are possible as physics. Bobbie's grandfather releases his spirit for encounters with others, and Bobbie even tually traps it outside his body. Pierce's tutor, Sister Mary Philomel, cures herself of inoperable cancer. John Dee's companion, Edward Kelly, elicits revelations from the spirits Uriel and Madimi through a crystal as Dee transcribes their pronouncements. Amid these shifting dimensions, Pierce teases out an organiza tional pattern and an objective. The pattern is a cycle, with each return to the starting point displaced in time: a helix rather than a circle. The objective emerges through a cross-cut sequence of analo gous quests: John Dee and the Emperor Rudolph II for an elixir of immortality, Fellowes Kraft and Boney Rasmussen for an artifact like the Holy Grail that would have a comparable power, and Pierce him self for a reference point across the shifting worlds. By the end of Love & Sleep, he is persuaded that he has found it in the operation of the human heart. Readers should decide for themselves how well Pierce's conclusion has penetrated the core of the world's mystery. Joseph t-1archesani Goldstein, lisa. Travellers in Magic. New York: Tor, 1994, 285 pages, hardcover, $21.95, ISBN 0-312-85790-X. In Travellers in Magic, Lisa Goldstein, winner of the American Book Award for her powerful holocaust novel, The Red Magician (1982), presents us 'vvith what may 'vvell be the most important genre 48

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SFRA Review #216, Marchi April 1995 short story collection of 1994. Originally published between 1985 and 1994, the fIfteen stories in this volume are jewels of originality. "Alfred" was a World Fantasy Award nominee. "Cassandra's Pho tographs" was nominated for both the Hugo and Nebula Awards. Others were included in various best-of-the-year anthologies. Best described as magic realism, these stories demonstrate Goldstein's remarkable ability to present the extraordinary in terms of the ordi nary, and to do so with compassion, kindness, and gentle humor. Her power lies in describing everyday events in such a way that we suspend disbelief and are drawn off-guard only to be suddenly faced with the violence and complexity of human life and the ambiguity of most moral choices. Time becomes dreamlike, subjective, and we must deal with the unpleasant realities we may well have wanted to avoid. Certainly, when in "Midnight News" aliens put the fate of the earth in the hands of Helena johnson, an elderly, abused nursing home resident, Goldstein means it as a cautionary tale. Some of the stories grew out of Goldstein's jewish heritage and her mother's own e..xperience growing up in the Hungarian-speaking region of what was once Czechoslovakia. In "Alfred," a girl befriends an old man in the park whose name and appearance matches that of her grandfather who died in a concentration camp. In "Breadcrumbs and Stones," as in jane Yolen's Briar Rose, a holocaust survivor is able to reveal her own unspeakable past through the safety and symbol ism of a folktale; like "Hansel and Gretel," a brother and sister are sent out into the forest only to find ovens more sinister than any the Brothers Grimm could imagine. Perhaps Goldstein's most intriguing stories are those set, like her novel TOurists, in Amaz, a third world nation where whimsy and ex pectation determine neighborhoods, maps are impossible, and the daily news comes most reliably via Tarot-like decks of playing cards. Goldstein seems to have a passion for tl1e tlungs legend and his tory leave out the aftermath of Cinderella's ill-matched marriage to the Prince in "Ever After," or, in "Infinite Riches," what actually happened when Sir Walter Raleigh was released from prison to search for B Dorado. Published here for the first time. "Split light" concerns Shabbetai Zevi, next to jesus the most important messianic figure in jewish history. Shabbetai, whose name means "Sabbath Zion," has a gift for seeing visions of the possible futures his life choices might 49

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SFRA Review #216, Marchi April 1995 engender. They manifest themselves in separate paths or "Split Ught." When given the choice betvveen martyrdom for his faith and accepting Islam, Shabbetai suddenly realizes the human suffering in volved in any fanatically held belief system. Vindicating his beliefs is no longer so important "He thinks of Sarah again, her tangled hair, her breath warm on his cheek. If he lets the world live all her children will be his, although she will not know it. Every person in the world vvill be his child. He can choose life, for himself and for every one; he can do what he was chosen to do and heal the world." The stories are humanitarian and profoundly feminist almost all involve passages wherein the viewpoint characters, frequently male, grow away from beliefs they once held dear. Nationalism, religious and political loyalties, even academic disciplines all become empty vessels to be discarded. What remains are relationships and the small joys of living each day \vith kindness and love. One of the pleasures of single-author collections is that we can see how a writ er's ideas develop over time. Goldstein's stories are a roadmap to her thoughts, a journey where it is ultimately possible to find meaning through suffering, memory and love. Highly recommended. Sandra Undow Goodkind, Terry. Wizard's First Rule. New York: Tor, 1994, 573 pages, hardcover, $23.95, ISBN 0-312-857055. From Richard Cypher's encounter with a snake vine while searching for father'S killer at the beginning of the novel to his confrontation with the tyrant Darken Rahl near the end, Wizard's First Rule races through the adventurous quest to save all living things from evil dOmination. Terry Goodkind has followed the tradition of Tolkien, Brooks, Eddings, and the other masters of fantasy quests, but has also given the basic quest tale startling twists which will appeal to readers who are familiar \vith stories by the others. In keeping with other quest tales, this novel teaches a modern lesson about the encroachment of evil in an W1SUSpecting world. like Tolkien in The Lord of the Rings, Goodkind has told a tale that is complete enough that the reader can stop \,yith this novel and feel a sense of satisfaction, but it also leaves slightly loose ends that promise more to come in the lives of the main characters. The char-50

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SFRA Review #216, Marchi April 1995 acters are carefully crafted and the plot has compelling action and purpose. Piers Anthony calls Wizard's First Rule "a phenomenal fantasy ... that surely marks the commencement of one of the major careers in the genre." I thoroughly agree and am anxiously awaiting publication of Gocxikind's next book Wizard's Second Rule. Sherry Stoskopf McCarthy, Wi!. Aggressor Six. New York: Roc, July 1994, 248 pages, softcover, $4.99, ISBN 0-451-45405-7. Wil McCarthy's Aggressor Six is an immensely exciting story about an interstellar war that threatens to bring Humankind to the brink of extinction. As humans try to defend themselves against an enemy with superior technology, a small band of military personnel form an "aggressor" unit which strives to behave and think like the enemy. They hope that adopting the aliens' speech, environment and social order will give them insight into the aliens' psychology and al low them to formulate a more effective battle strategy. The protag onist, having suffered severe psychological trauma during a Pyrrhic victory, fmds himself slipping into the role of enemy somewhat too easily, causing additional problems within the aggressor unit. McCarthy effectively conveys the stress and frustration experi enced by soldiers who are hampered by inept, short-sighted military leaders -and who fear they may be doing it all for nothing. He also demonstrates that assuming the role of one's enemy can lead to the questioning of one's own beliefs and conduct. Any reader of hard and/or military science fiction should appreciate this well-devised and quick-paced plot which accurately portrays the grim realities of war. With this first novel, McCarthy is a welcome new face in the genre that readers should hope to hear from again in the near future. Paul Abell McKillip, Patrida. Brian Froud's Faerielands: Someching Rich and Strange. illustrated by Brian Froud. New York: Bantam, October 1994,205 pages, hardcover, $19.95, ISBN 0-553-09675-5. Patricia McKillip's Something Rich and Strange is the second book in Brian Froud's Faerielands series. The first book, Charles de lint's 51

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SFRA Review#216, March/April1995 The Wild Wood, is the modern-day story of a woman artist who finds the woods in which faeries dwell. McKillip's novel also focuses on a woman artist, but the setting is the seashore, specifically a small sea coast town economically dependent upon tourists, and the fantastic creatures are those of the sea. Megan, the artist in Something Rich and Strange, draws seascapes and tide pools in ink and pencil, sells them in a local shop, and lives in a somewhat prickly romance with Jonah, the man who owns the shop. Both are seduced by creatures of the sea, a siren, perhaps, for Jonah, and a selkie for Megan. The structure of the novel is very much the structure of a traditional folk tale or ballad; Jonah is lured beneath the sea by the siren, and Megan, out of love or loyalty or both, follows to try to find him. The Faerielands series originated with Brian Froud, designer of Jim Henson's The Dark Oysrai and The Labyrinth. As he explains in the introduction, Froud developed the Faerielands art in the summer of 1991; in the fall, he met with the authors and publisher to present the art and allow the authors to choose the pieces they wished. The authors were then free to \",rite what they found in the art. It may be the process or it may be McKillip's style -or both, but this novel is very visual; the descriptions of the seacoast and the town are as fully-realized and as faSCinating, simultaneously realistic and fantastic, as those of the w1dersea kingdom to which the mortals are lured. I must confess, however, that I saw only tenuous connec tions between the art of the illustrations and the art of the novel; but the art is certainly in both, and the book is, as the title suggests, Something Rich and Scrange. C.W. Sullivan III Scott, Melissa. Trouble and Her Friends. New York: Tor, 1994, 379 pages, hardcover, ISBN 0-312-85733-0. An unevenly paced work, this novel by Melissa Scott is set in what appears to be a near-future U.S., but much of the "action" also occurs in a cyberspace analog. The novel's strengths are also its weaknesses, for it attempts, like several other works of the last halfdecade, to paint word-pictures of cyberspace and the interaction 52

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SFRA Review#216, March/April1995 between the human mind and the computer that has created this "non-place" where many of us are beginning to spend our time, form identities, and speculate about our human future. I use paragraphs from this text often to assist students in creating images that will help them understand the importance of the Internet. In this in stance, Scott borrows an image from literature in a metaphorical portrait Alice in Wonderland, Alice down the rabbit hole, Alice out in Cyberspace, flung along the lines of data, flying across fields of light, the night cities that live only behind her eyes ... she moves from datashell to datashell, walking the net like the ghost of a shadow, her trail vanishing behind her as she goes. She carries power in the dark behind her eyes. (p. 16) We have all become familiar with the "goggles and mitten" of virtual reality from visual media and fictional descriptions. We have all seen the holodeck on Star Trek: The Next Generation. Scott indudes a more intimate connection, previewed by Samuel R. Delany in Babel-17 among others. Her characters, Trouble and Cerise and their friends, are, at the beginning of the novel, hackers who make their living by stealing information. They also have illegal implants which link their brains and nervous systems more directly to the informa tion nets. They both change over to "legal" activity early in the novel when new legislation is passed which limits net activity and imposes harsh penalties for the things they did in their former lives. However, they fmd themselves back on the shady side of things and po tentially at odds with one another when someone takes over Trou ble's cyberspace persona and hacks destructively against a company where Cerise works. To protect herself and her friends, Trouble must fmd this imposter and battle him/her/it in reality and in cy berspace. While I find the imagery and the casual social commentary of this novel to be thoroughly engaging, the plot is rather confused and in some places seems to be wholly given over to the legerdemain of the nets and to observations about gay and lesbian culture. Trouble and her friends are colorful characters whose doubly imaginary nar rative space yields random insights rather than sustained fiction. 53

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SFRA Review#216, March/April 1995 They do, however, travel vvithin a space -or non-space -that I en joy visiting. Janice Bogstad Sterling, Bruce. Globalhead. New York: Bantam, 1994 (original 1992),339 pages, softcover, $5.99, ISBN 0-553-56281-9. I remember a couple of years ago hearing PJ O'Rourke (sometimes of Rolling Stone magazine) answering talk-show host Larry King's question "What will be the most interesting thing that Americans will face living in the 21st century?" O'Rourke replied, "They will find themselves living in the 'Third World.'" After overcoming an initial gag reflex from reading "Our Neural Chernobyl" (p. 1-10) and "Storming the Cosmos" (p. 11-64), the first two stories in this collection of short fiction by Bruce Sterling, I de aded to continue reading. After fInishing "The Compassionate, The Digital" (p. 65-72), it occurred to me that it was me, not Sterling, that was the problem. The grittiness and granularity of the stories, essential to set them off from the seamless hygienic run of the genre, had caught me off balance, and it took some time to catch myequi libriwn. Sterling has done something really big vvith this collection. He has empowered science fiction to catch up and burst just a little ahead of the world. He has accomplished this by writing about Late Modernism, and Post-modernism, and the post-industrialist milieu, not as abstractions, not as concepts as expressed in literary texts, but rather as real world manifestation of profound change that has reformatted our reality and led to tectonic shifts forcing us to recon sider all of the grounding assumptions upon which generations have based their lives. In doing this, Globalhead is using science fIction to acknowledge the shattering of half a century of torpid Cold War bipolarization. The world is working its way in as it drives Sterling's narrative in the thirteen stories in this collection. About halfway through "Jim and Irene" (p. 73-118) I realized that what Sterling was doing in the first few stories was like a sax player dOing a few warm-up sets before the club opens. It is not seamless, it is not pretty, but it is essential to the pace of the rest of 54

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SFRA Review #216, Marchi April 1995 the perfonnance. Somewhere in the middle of "Jim and Irene," we fmd we are reading a love story set in the cruelest sector of Elliot's "The Waste Lane," where April does not even bring the promise of thunder, and where the train stopped forever for Philip K Dick. About once or so in a generation a story like "Dori Bangs" (p. 322-339) is written. It is a bittersweet story about lives written and rewritten. For a short time, Sterling makes two lost souls come alive in a retold tale. It is also a story about power and limitations of art, and when I fmished it I found myself calling old friends who I had not seen in years, hoping they were alright Overall, I highly recommend this collection as a showcase for a very talented writer who deserves a great deal of serious critical at tention, and the broadest possible market Genre fiction seems to be the last mass market refuge for the short story, and this multifaceted collection has something for almost everyone. I read the collection in not much more than a single sitting, and I am certain that the stories will stand up well to both a re-reading and scrutiny on a much higher register. Philip Kaveny Tepper, Sheri S. Shadow's End. New York: Bantam, November 1994,388 pages, hardcover, $22.95, ISBN 0-553-09514-5. Sheri S. Tepper is a very important SF writer about whom surprisingly little has been published. That should change soon, if the number of papers about her work at last summer's SFRA meeting is any indication. From her first novel, Revenants, to her most recent, Shadow's End, certain traits remain constant: a vigorous questing plot (Gary K. Wolfe noted this in a recent Locus review), rebellious female characters, and passionate feminist, ecological, and religious themes. Remarkably, quality never falters, though she has published 25 fantasy or SF novels since her first novel was published in 1983 (she has written a number of mysteries as well). Shadow's End contains all of Tepper's trademarks while managing to stay eXCiting and fresh. The trick lies in the inventiveness with which she varies the details of her striking characters, settings, and quests. The novel follows a linguist, Lutha Tallstaff; her handi-55

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SFRA Review #216, Marchi April 1995 capped child, Leely; and Leelson Famber, Leely's father all of the planet Alliance Centralas well as Saluez, a disfigured woman native to the world of Dinadh; and Snark, a tough and ingenious orphan who finds sanctuary on the abandoned planet of Perdur Alas. These characters and many others travel among the three worlds: Alliance Prime, overcrowded, urbanized, "homonorrned," and controlled by the Firsters, who believe that only human beings have the inalien able right to exist; Dinadh, a backwater planet, untouched by Firsters and therefore ecologically rich and varied, but controlled instead by a brutal patriarchal religion; and Perdur Alas, one of the planets the mysterious Ularians have depopulated, which offers sanctuary, threat, and a dramatic denouement Every character has a quest which culminates on Perdur Alas. Lutha seeks her son's purpose for being; Leely seeks to develop his unique talents; Leelson searches for the solution to the mystery of the Ularians; Saluez pursues dignity and meaning beyond her restrictive society; and Snark struggles to discover her own history. The novel follows all these people, places, and quests with great energy and in compulsively readable yet graceful and evocative lan guage. We become intensely involved with the characters, caring deeply what will become of them; the settings, filled with convincing anthropological and geographic details, come alive, and the quests themselves are so intriguing that one feels compelled to keep reading. However much this novel succeeds through its repetition of the author's previous successes, it also succeeds by extending Tepper's gradual broadening of humaneness of vision. She is often, and still, an angry writer in the face of religiOUS, gender, and ecological injus tice. It is her particular talent to be able to combine that anger with an ability to see the humanity of the inhuman. This has become more true book by book throughout her career. Shadows End is another great success, close upon last year's stirring A Plague of Angels. -JmnGordon 56

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SFRA Review #216, Marchi April 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, and annual index. Science-Fiction Studies. Trimesterly magazine; includes critical, historical, and bib liographical articles, review articles, reviews, notes, letters, international coverage, and 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, and 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 relaxed, informal environment. Much of the significant scholarly literature, available at discounted prices, is displayed. The Pilgrim and Pioneer Awards for distinguished contributions to SF or fantasy scholarship are presented at a dinner meeting. Participate in the Association's activities. Vote in elections, serve on committees, 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.] 57

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SFRA Review#216, March/April 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. DJes U.S.A Carada Overseas Individual 1 $60 $65 $70 Joint 2 $70 $75 $80 Student 3 $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. Mailing Address: Business Phone: Fax number: E-mail Address: My principal interests in fantastic literature are (limit to 30 words): Repeat last year's entry ___ 58

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NAME: ADDRESS: PHONE: SFRA Review #216, Marchi April 1995 June 22-25, 1995 Grand Forks, North Dakota CONFERENCE FEE: $105.00 until May 1, 1994 $11 5 until June 21, 1994 $1 25 at the door [] 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 TOTAL ENCLOSED Checks should be made out to: 1995 SFRA Conference OVER59

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SFRA Review#216. March/April1995 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 Ha" [] Holiday Inn [] Econolodge [] Handicapped seNices: ______________ [] 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. 60 MAIL THIS FORM WrTH CONFERENCE FEE TO: B. Diane Mi"er 1402 4th Avenue North Grand Forks, NO 58203-3145 Phone: (701) 775-5038 E-mail: Internet: ud068741 @vml.nodak.edu or GEnie: d.miller14


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